^{page 487 note 1} I gratefully acknowledge a grant from the Central Research Fund of the University of London which in 1950 enabled me to visit Italian museums. My thanks are also due to Dr. Vittorio Viale, Director of the Museo Civico, who gave me all facilities for photographing and studying this exhibit.

^{page 487 note 2} The fact that a part of the vessel was unlikely to be exposed to view never prevented the Islamic craftsmen from decorating it with the same loving care which they bestowed on the parts permanently visible; cf. ‘Studies in Islamic metal work—II’, BSOAS, xv, 1, 1953, 62.Google Scholar

^{page 488 note 1} Going anti-clockwise from the top of plate II one can enumerate: (1) dog, (2) hare, (3) bear, (4) lion, (5) buffalo, (6) lion, (7) buffalo, (8) dog, (9) hare, (10) lion, (11) horse, (12) cow, (13) dog ?, (14) horse, (15) lion, (16) winged horse, (17) griffin, (18) sphinx, (19) unicorn (20) elephant, (21) buffalo, (22) cheetah, (23) gazelle.

For a similar row of animals see the rim of the Baptistère de Saint Louis which, by a strange coincidence, also measures 8 mm.— Rice, D.S., The Baptistère de Saint Louis, Paris, 1953, p. 26,Google Scholar fig. 25.

For the reason of showing the unicorn as chasing an elephant, cf. Ettinghausen, R., The Unicorn, Washington, 1950,Google Scholar 29 ff.

^{page 488 note 2} cf. the bowl in the Hermitage, Leningrad in A survey of Persian art, London, 1939, IV,Google Scholar pl. 1363A, and the bowl made by ‘Abd al-Qādir ibn ‘Abd al-Khāliq Shīrāzī dated 705/1305 in the Galleria Estense, Modena, which I propose to pubUsh at an early date.

^{page 488 note 3} See Coomaraswamy, A., ‘Two examples of Muhammadan metal work’, Bulletin of the Museum of Fine Arts, Boston, XXIX, 08. 1931,Google Scholar 70 f.

^{page 489 note 1} The bowl is registered under No. 2062. It is 8.3 cm. high (exactly like the Turin bowl). The diameter of its aperture is 13.5 cm. and its max. diam. measures 18 cm. The inscription on it reads:

A somewhat free drawing of this text will be found in Venturi, A., La R. Galleria Estense di Modena, Modena, 1883,Google Scholar p. 84 f. The vessel itself has not been reproduced.

^{page 489 note 2} D.S. Rice, op. cit., pp. 22–3, figs. 22, 23, and pi. XL.

^{page 489 note 3} cf. also the same motif in d'Avennes, Prisse, L'art arabe d'après les monuments du Kaire, Paris, 1877, III,Google Scholar pl. CLXVIII (on objects made for Muḥammad ibn Qalā'ūn).

^{page 489 note 4} D.S. Rice, op. cit., fig. 24.

^{page 492 note 1} It was only after completing this paper that I noticed an inscription published by Lanci, M.A., Trattato dette simboliche rappresentanze arabiche, Paris, 1846, III Google Scholar, pl. XXXV (5). He there reproduces the following, peculiarly lifeless, drawing of an inscription which had been copied for him from a bowl in Venice.

^{page 493 note 1} cf. R. Strotmann, art. ta'ziya in El, IV, 717–19.

^{page 493 note 2} Col. Pelly, Sir Lewis, The Miracle play of Hasan and Husain, London, 1879, II, 21.Google Scholar

^{page 493 note 3} ibid., II, 295. There is a pun here. The ‘watering of the sword’ is the pattern produced by the welding of the steel, a process also known as damascening.

^{page 493 note 4} ibid., I, 73.

^{page 493 note 5} Virolleaud, Ch., Le théatre Persan ou le drame de Kerbela, Paris, 1950, 75.Google Scholar

^{page 493 note 6} Sūra CVIII, 1

^{page 494 note 1} Cerulli, E., ll‘libro della Scala’ e la questions dei fonti arabo-spagnole delta Divina Commedia (Studi e Testi 150), Città del Vaticano, 1944, 142.Google Scholar

^{page 494 note 2} Houtsma, M. Th., ‘Bilder aus einem persischen Fālbuch’, Internationales Archiv für Ethnographie, III, 1890,Google Scholar pp. 149 f., pl. XII.

^{page 494 note 3} Arnold, Sir T., Painting in Islam, Oxford, 1928, pl. XXXV, a, and p. 110.Google Scholar

^{page 494 note 4} This leaf, one of eight giving the horoscopes of shiite imams, previously belonged to the R. Zoological Society of Amsterdam. It is now kept in the Dept. of Cultural Anthropology of the K. Instituut voor de Tropen, Leiden. I am greatly indebted to Mrs. M. W. Reyers and to Dr. Mellema of this Institute for supplying the photograph which is reproduced on pl. XI.

^{page 494 note 5} Mr. M. T. Mostafavi, Director of the Archaeological Museum, Teheran, kindly called my attention to Arabic and Persian inscriptions on the Saqākhāneh in Teheran which express the same idea. There Yazīd is explicitly named.

^{page 494 note 6} Pelly, op. cit., II, 64–5.

^{page 494 note 7} ibid., II, 65.

^{page 496 note 1} Thieme-Becker, , Künstlerlexikon, ed. Vollmer, H., Leipzig, 1936, XXX, 74.Google Scholar

^{page 496 note 2} The from the beginning of the line should be joined to the end and read the traditional ending of such texts.

^{page 497 note 1} Among the prominent citizens of Aleppo who died in 712/1312 is a certain Ghāzī ibn Aḥmad al-Wāsiṭī ( aṭ-Ṭabbākh, Rāghib, Inbā’ an-nubalā’ bita'rīkh ḥalab ash-shahbā’, V, Aleppo, 1925, 544 Google Scholar), who held various administrative posts in Cairo until he fell out with Sunqur al-A‘sar (cf. ‘Studies in Islamic metal work—I’, BSOAS, XIV, 3, 1952,Google Scholar 566 f.) and was banished to Aleppo. The combination of the father's name Aḥmad and the nisba al-Wāsiṭī is sufficiently unusual to invite speculation. Could Ismā‘īl and Ghāzī have been brothers? But there is no indication that Ghāzī was a shiite.

^{page 497 note 2} Inv. No. 7436. The ewer stands 24 cm. high on a base which measures 9 cm. in diameter. The body and foot of the vessel are undecorated. There are silver inlays only on the neck (9 cm. wide) and on the S-shaped handle. The ornamental inscription which forms a continuous band reads:

I am indebted to M. J. David-Weill, keeper of Islamic antiquities in the Louvre, for permission to study this exhibit.

^{page 497 note 3} Inv. No. 112112. Height 20.5 cm., base 73 cm., aperture 7.3 cm. (The handle may be a later addition.) I am grateful to Professor B. Molajoli for permission to study this exhibit. There are very few traces of inlay. The two medallions on the ewer's neck enclose a doubleheaded eagle. Two out of five medallions on the body of the vessel show the same motif; the remaining three medallions enclose a hunter on horseback with falcon, a polo player, a seated prince with two attendants.

^{page 498 note 1} Much has been written about the double-headed eagle motif which is of very great antiquity in the Near East. cf. Wiet, G., Soieries persanes, Le Caire, 1947,Google Scholar 58 f.

^{page 498 note 2} The double-headed eagles on the handwarmer in the British Museum which bears the name of Baysarī ( Mayer, L.A., Saracenic heraldry, Oxford, 1933, 112 Google Scholar) are not, to my mind, coats of arms.

^{page 500 note 1} cf. Rice, D.S., The Wade Cup in the Cleveland Museum of Art, Paris, 1955, figs. 13d, 16–17.Google Scholar