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Bracket fungi (Clavaniaceae&#x29

Bracket fungi, or shelf fungi, are among the many groups of fungi that comprise the phylum Basidiomycota. Characteristically, they produce shelf- or bracket-shaped fruiting bodies called conks that lie in a close planar grouping of separate or interconnected horizontal rows. Brackets can range from only a single row of a few caps, to dozens of rows of caps that can weigh several hundred pounds. They are mainly found on trees (living and dead) and coarse woody debris, and may resemble mushrooms. Some form annual fruiting bodies while others are perennial and grow larger year after year. Bracket fungi are typically tough and sturdy and produce their spores, called basidiospores, within the pores that typically make up the undersurface. Bracket fungi, or shelf fungi, are among the many groups of fungi that comprise the phylum Basidiomycota. Characteristically, they produce shelf- or bracket-shaped fruiting bodies called conks that lie in a close planar grouping of separate or interconnected horizontal rows. Brackets can range from only a single row of a few caps, to dozens of rows of caps that can weigh several hundred pounds. They are mainly found on trees (living and dead) and coarse woody debris, and may resemble mushrooms. Some form annual fruiting bodies while others are perennial and grow larger year after year. Bracket fungi are typically tough and sturdy and produce their spores, called basidiospores, within the pores that typically make up the undersurface.

Five poems (quintet), Walters Art Museum Ms. W.607, fol. 78b

This is an illustrated copy of four of the five poems that comprise the Khamsah of Niáº“ÄmÄ« GanjavÄ« (d.605 AH / 1209 CE). It does not include LaylÃ¡ va MajnÅ«n. The text was copied by a certain YÄdkÄr the Calligrapher (al-KÄtib) in 935 AH / 1529 CE, most probably in Safavid Iran. An illuminated double-page composition opens the manuscript and each poem is initiated with a decorative headpiece. The miniatures appear to have been repainted at some point in the manuscriptâ€™s history. Their date and provenance are open to question. The textblock is bound in late Zand lacquer covers with scenes depicting BahrÄm GÅ«r hunting and Khusraw watching ShÄ«rÄ«n bathing. FarhÄd carves a picture of his beloved ShÄ«rÄ«n in the rock. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=17718. This is an illustrated copy of four of the five poems that comprise the Khamsah of Niáº“ÄmÄ« GanjavÄ« (d.605 AH / 1209 CE). It does not include LaylÃ¡ va MajnÅ«n. The text was copied by a certain YÄdkÄr the Calligrapher (al-KÄtib) in 935 AH / 1529 CE, most probably in Safavid Iran. An illuminated double-page composition opens the manuscript and each poem is initiated with a decorative headpiece. The miniatures appear to have been repainted at some point in the manuscriptâ€™s history. Their date and provenance are open to question. The textblock is bound in late Zand lacquer covers with scenes depicting BahrÄm GÅ«r hunting and Khusraw watching ShÄ«rÄ«n bathing. FarhÄd carves a picture of his beloved ShÄ«rÄ«n in the rock. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=17718

CGN Simplon Ship-Geneva-Yvoire-

La Compagnie gÃ©nÃ©rale de navigation sur le Lac LÃ©man - CGN est une sociÃ©tÃ© suisse de transport par bateaux sur le lac LÃ©man en Suisse et en France. La sociÃ©tÃ© possÃ¨de dix-neuf bateaux, d'une capacitÃ© comprise entre 150 et plus de 1 000 passagers. La Compagnie gÃ©nÃ©rale de navigation sur le Lac LÃ©man - CGN est une sociÃ©tÃ© suisse de transport par bateaux sur le lac LÃ©man en Suisse et en France. La sociÃ©tÃ© possÃ¨de dix-neuf bateaux, d'une capacitÃ© comprise entre 150 et plus de 1 000 passagers.

Five poems (quintet), Walters Art Museum Ms. W.607, fol. 180b

This is an illustrated copy of four of the five poems that comprise the Khamsah of Niáº“ÄmÄ« GanjavÄ« (d.605 AH / 1209 CE). It does not include LaylÃ¡ va MajnÅ«n. The text was copied by a certain YÄdkÄr the Calligrapher (al-KÄtib) in 935 AH / 1529 CE, most probably in Safavid Iran. An illuminated double-page composition opens the manuscript and each poem is initiated with a decorative headpiece. The miniatures appear to have been repainted at some point in the manuscriptâ€™s history. Their date and provenance are open to question. The textblock is bound in late Zand lacquer covers with scenes depicting BahrÄm GÅ«r hunting and Khusraw watching ShÄ«rÄ«n bathing. Incipit page with an illuminated headpiece introducing SharafnÄmah (the first part of IskandarnÄmah). See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=17718. This is an illustrated copy of four of the five poems that comprise the Khamsah of Niáº“ÄmÄ« GanjavÄ« (d.605 AH / 1209 CE). It does not include LaylÃ¡ va MajnÅ«n. The text was copied by a certain YÄdkÄr the Calligrapher (al-KÄtib) in 935 AH / 1529 CE, most probably in Safavid Iran. An illuminated double-page composition opens the manuscript and each poem is initiated with a decorative headpiece. The miniatures appear to have been repainted at some point in the manuscriptâ€™s history. Their date and provenance are open to question. The textblock is bound in late Zand lacquer covers with scenes depicting BahrÄm GÅ«r hunting and Khusraw watching ShÄ«rÄ«n bathing. Incipit page with an illuminated headpiece introducing SharafnÄmah (the first part of IskandarnÄmah). See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=17718

Five poems (quintet), Walters Art Museum Ms. W.607, fol. 4b

This is an illustrated copy of four of the five poems that comprise the Khamsah of Niáº“ÄmÄ« GanjavÄ« (d.605 AH / 1209 CE). It does not include LaylÃ¡ va MajnÅ«n. The text was copied by a certain YÄdkÄr the Calligrapher (al-KÄtib) in 935 AH / 1529 CE, most probably in Safavid Iran. An illuminated double-page composition opens the manuscript and each poem is initiated with a decorative headpiece. The miniatures appear to have been repainted at some point in the manuscriptâ€™s history. Their date and provenance are open to question. The textblock is bound in late Zand lacquer covers with scenes depicting BahrÄm GÅ«r hunting and Khusraw watching ShÄ«rÄ«n bathing. The Prophet Muhammad is depicted ascending on Buraq led by the angel Gabriel. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=17718. This is an illustrated copy of four of the five poems that comprise the Khamsah of Niáº“ÄmÄ« GanjavÄ« (d.605 AH / 1209 CE). It does not include LaylÃ¡ va MajnÅ«n. The text was copied by a certain YÄdkÄr the Calligrapher (al-KÄtib) in 935 AH / 1529 CE, most probably in Safavid Iran. An illuminated double-page composition opens the manuscript and each poem is initiated with a decorative headpiece. The miniatures appear to have been repainted at some point in the manuscriptâ€™s history. Their date and provenance are open to question. The textblock is bound in late Zand lacquer covers with scenes depicting BahrÄm GÅ«r hunting and Khusraw watching ShÄ«rÄ«n bathing. The Prophet Muhammad is depicted ascending on Buraq led by the angel Gabriel. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=17718

Sundews

Drosera, commonly known as the sundews, comprise one of the largest genera of carnivorous plants, with over 170 species.

Five poems (quintet), Walters Art Museum Ms. W.607, fol. 17a

This is an illustrated copy of four of the five poems that comprise the Khamsah of Niáº“ÄmÄ« GanjavÄ« (d.605 AH / 1209 CE). It does not include LaylÃ¡ va MajnÅ«n. The text was copied by a certain YÄdkÄr the Calligrapher (al-KÄtib) in 935 AH / 1529 CE, most probably in Safavid Iran. An illuminated double-page composition opens the manuscript and each poem is initiated with a decorative headpiece. The miniatures appear to have been repainted at some point in the manuscriptâ€™s history. Their date and provenance are open to question. The textblock is bound in late Zand lacquer covers with scenes depicting BahrÄm GÅ«r hunting and Khusraw watching ShÄ«rÄ«n bathing. An old woman approaches the throne of Sultan Sanjar to tell of her oppression. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=17718. This is an illustrated copy of four of the five poems that comprise the Khamsah of Niáº“ÄmÄ« GanjavÄ« (d.605 AH / 1209 CE). It does not include LaylÃ¡ va MajnÅ«n. The text was copied by a certain YÄdkÄr the Calligrapher (al-KÄtib) in 935 AH / 1529 CE, most probably in Safavid Iran. An illuminated double-page composition opens the manuscript and each poem is initiated with a decorative headpiece. The miniatures appear to have been repainted at some point in the manuscriptâ€™s history. Their date and provenance are open to question. The textblock is bound in late Zand lacquer covers with scenes depicting BahrÄm GÅ«r hunting and Khusraw watching ShÄ«rÄ«n bathing. An old woman approaches the throne of Sultan Sanjar to tell of her oppression. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=17718

Five poems (quintet), Walters Art Museum Ms. W.607, fol. 104b

This is an illustrated copy of four of the five poems that comprise the Khamsah of Niáº“ÄmÄ« GanjavÄ« (d.605 AH / 1209 CE). It does not include LaylÃ¡ va MajnÅ«n. The text was copied by a certain YÄdkÄr the Calligrapher (al-KÄtib) in 935 AH / 1529 CE, most probably in Safavid Iran. An illuminated double-page composition opens the manuscript and each poem is initiated with a decorative headpiece. The miniatures appear to have been repainted at some point in the manuscriptâ€™s history. Their date and provenance are open to question. The textblock is bound in late Zand lacquer covers with scenes depicting BahrÄm GÅ«r hunting and Khusraw watching ShÄ«rÄ«n bathing. The reconciliation of Khusraw and ShÄ«rÄ«n. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=17718. This is an illustrated copy of four of the five poems that comprise the Khamsah of Niáº“ÄmÄ« GanjavÄ« (d.605 AH / 1209 CE). It does not include LaylÃ¡ va MajnÅ«n. The text was copied by a certain YÄdkÄr the Calligrapher (al-KÄtib) in 935 AH / 1529 CE, most probably in Safavid Iran. An illuminated double-page composition opens the manuscript and each poem is initiated with a decorative headpiece. The miniatures appear to have been repainted at some point in the manuscriptâ€™s history. Their date and provenance are open to question. The textblock is bound in late Zand lacquer covers with scenes depicting BahrÄm GÅ«r hunting and Khusraw watching ShÄ«rÄ«n bathing. The reconciliation of Khusraw and ShÄ«rÄ«n. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=17718

Bracket Fungi.

Bracket fungi, or shelf fungi, are among the many groups of fungi that comprise the phylum Basidiomycota. Characteristically, they produce shelf- or bracket-shaped fruiting bodies called conks that lie in a close planar grouping of separate or interconnected horizontal rows. Brackets can range from only a single row of a few caps, to dozens of rows of caps that can weigh several hundred pounds. They are mainly found on trees (living and dead) and coarse woody debris, and may resemble mushrooms. Some form annual fruiting bodies while others are perennial and grow larger year after year. Bracket fungi are typically tough and sturdy and produce their spores, called basidiospores, within the pores that typically make up the undersurface. Bracket fungi, or shelf fungi, are among the many groups of fungi that comprise the phylum Basidiomycota. Characteristically, they produce shelf- or bracket-shaped fruiting bodies called conks that lie in a close planar grouping of separate or interconnected horizontal rows. Brackets can range from only a single row of a few caps, to dozens of rows of caps that can weigh several hundred pounds. They are mainly found on trees (living and dead) and coarse woody debris, and may resemble mushrooms. Some form annual fruiting bodies while others are perennial and grow larger year after year. Bracket fungi are typically tough and sturdy and produce their spores, called basidiospores, within the pores that typically make up the undersurface.

Five poems (quintet), Walters Art Museum Ms. W.607, fol. 29b

This is an illustrated copy of four of the five poems that comprise the Khamsah of Niáº“ÄmÄ« GanjavÄ« (d.605 AH / 1209 CE). It does not include LaylÃ¡ va MajnÅ«n. The text was copied by a certain YÄdkÄr the Calligrapher (al-KÄtib) in 935 AH / 1529 CE, most probably in Safavid Iran. An illuminated double-page composition opens the manuscript and each poem is initiated with a decorative headpiece. The miniatures appear to have been repainted at some point in the manuscriptâ€™s history. Their date and provenance are open to question. The textblock is bound in late Zand lacquer covers with scenes depicting BahrÄm GÅ«r hunting and Khusraw watching ShÄ«rÄ«n bathing. At a court gathering an old woman speaks with a confidant of King JamshÄ«d. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=17718. This is an illustrated copy of four of the five poems that comprise the Khamsah of Niáº“ÄmÄ« GanjavÄ« (d.605 AH / 1209 CE). It does not include LaylÃ¡ va MajnÅ«n. The text was copied by a certain YÄdkÄr the Calligrapher (al-KÄtib) in 935 AH / 1529 CE, most probably in Safavid Iran. An illuminated double-page composition opens the manuscript and each poem is initiated with a decorative headpiece. The miniatures appear to have been repainted at some point in the manuscriptâ€™s history. Their date and provenance are open to question. The textblock is bound in late Zand lacquer covers with scenes depicting BahrÄm GÅ«r hunting and Khusraw watching ShÄ«rÄ«n bathing. At a court gathering an old woman speaks with a confidant of King JamshÄ«d. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=17718

CGN Simplon Ship-Geneva-Yvoire

La Compagnie gÃ©nÃ©rale de navigation sur le Lac LÃ©man - CGN est une sociÃ©tÃ© suisse de transport par bateaux sur le lac LÃ©man en Suisse et en France. La sociÃ©tÃ© possÃ¨de dix-neuf bateaux, d'une capacitÃ© comprise entre 150 et plus de 1 000 passagers. La Compagnie gÃ©nÃ©rale de navigation sur le Lac LÃ©man - CGN est une sociÃ©tÃ© suisse de transport par bateaux sur le lac LÃ©man en Suisse et en France. La sociÃ©tÃ© possÃ¨de dix-neuf bateaux, d'une capacitÃ© comprise entre 150 et plus de 1 000 passagers.

Five poems (quintet), Walters Art Museum Ms. W.607, fol. 268b

This is an illustrated copy of four of the five poems that comprise the Khamsah of Niáº“ÄmÄ« GanjavÄ« (d.605 AH / 1209 CE). It does not include LaylÃ¡ va MajnÅ«n. The text was copied by a certain YÄdkÄr the Calligrapher (al-KÄtib) in 935 AH / 1529 CE, most probably in Safavid Iran. An illuminated double-page composition opens the manuscript and each poem is initiated with a decorative headpiece. The miniatures appear to have been repainted at some point in the manuscriptâ€™s history. Their date and provenance are open to question. The textblock is bound in late Zand lacquer covers with scenes depicting BahrÄm GÅ«r hunting and Khusraw watching ShÄ«rÄ«n bathing. Aristotle (Arisá¹Å«) teaching his students. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=17718. This is an illustrated copy of four of the five poems that comprise the Khamsah of Niáº“ÄmÄ« GanjavÄ« (d.605 AH / 1209 CE). It does not include LaylÃ¡ va MajnÅ«n. The text was copied by a certain YÄdkÄr the Calligrapher (al-KÄtib) in 935 AH / 1529 CE, most probably in Safavid Iran. An illuminated double-page composition opens the manuscript and each poem is initiated with a decorative headpiece. The miniatures appear to have been repainted at some point in the manuscriptâ€™s history. Their date and provenance are open to question. The textblock is bound in late Zand lacquer covers with scenes depicting BahrÄm GÅ«r hunting and Khusraw watching ShÄ«rÄ«n bathing. Aristotle (Arisá¹Å«) teaching his students. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=17718

USGS Streamgage at Soper Branch Creek

A view from Soper Branch creek with a USGS streamgage on the other side of the bridge. Soper Branch is a small stream near Hyattstown, MD, that is part of the Chesapeake Bay watershed. For more than 125 years, starting with the establishment of the first streamgage in Embudo, N.M., on Jan. 1, 1889, the USGS has monitored flow in selected streams and rivers across the United States. The information is routinely used for water supply and management, monitoring floods and droughts, bridge and road design, determination of flood risk and for many recreational activities. The USGS currently operates 4,461 stations with more than 30 years of record, and 8,024 gages comprise the U.S. streamgage network today. Photo credit: Dianna Hogan, USGS. A view from Soper Branch creek with a USGS streamgage on the other side of the bridge. Soper Branch is a small stream near Hyattstown, MD, that is part of the Chesapeake Bay watershed. For more than 125 years, starting with the establishment of the first streamgage in Embudo, N.M., on Jan. 1, 1889, the USGS has monitored flow in selected streams and rivers across the United States. The information is routinely used for water supply and management, monitoring floods and droughts, bridge and road design, determination of flood risk and for many recreational activities. The USGS currently operates 4,461 stations with more than 30 years of record, and 8,024 gages comprise the U.S. streamgage network today. Photo credit: Dianna Hogan, USGS

Abstract blue membrane ribbon

Abstract blue colored, circular platelets comprise a ribbon membrane with waves or ripples propagating through it. Background is a flat membrane of circular disks. Abstract blue colored, circular platelets comprise a ribbon membrane with waves or ripples propagating through it. Background is a flat membrane of circular disks.

Five poems (quintet), Walters Art Museum Ms. W.607, fol. 68a

This is an illustrated copy of four of the five poems that comprise the Khamsah of Niáº“ÄmÄ« GanjavÄ« (d.605 AH / 1209 CE). It does not include LaylÃ¡ va MajnÅ«n. The text was copied by a certain YÄdkÄr the Calligrapher (al-KÄtib) in 935 AH / 1529 CE, most probably in Safavid Iran. An illuminated double-page composition opens the manuscript and each poem is initiated with a decorative headpiece. The miniatures appear to have been repainted at some point in the manuscriptâ€™s history. Their date and provenance are open to question. The textblock is bound in late Zand lacquer covers with scenes depicting BahrÄm GÅ«r hunting and Khusraw watching ShÄ«rÄ«n bathing. Khusraw and ShÄ«rÄ«n sit enthroned. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=17718. This is an illustrated copy of four of the five poems that comprise the Khamsah of Niáº“ÄmÄ« GanjavÄ« (d.605 AH / 1209 CE). It does not include LaylÃ¡ va MajnÅ«n. The text was copied by a certain YÄdkÄr the Calligrapher (al-KÄtib) in 935 AH / 1529 CE, most probably in Safavid Iran. An illuminated double-page composition opens the manuscript and each poem is initiated with a decorative headpiece. The miniatures appear to have been repainted at some point in the manuscriptâ€™s history. Their date and provenance are open to question. The textblock is bound in late Zand lacquer covers with scenes depicting BahrÄm GÅ«r hunting and Khusraw watching ShÄ«rÄ«n bathing. Khusraw and ShÄ«rÄ«n sit enthroned. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=17718

Five poems (quintet), Walters Art Museum Ms. W.607, fol. 154a

This is an illustrated copy of four of the five poems that comprise the Khamsah of Niáº“ÄmÄ« GanjavÄ« (d.605 AH / 1209 CE). It does not include LaylÃ¡ va MajnÅ«n. The text was copied by a certain YÄdkÄr the Calligrapher (al-KÄtib) in 935 AH / 1529 CE, most probably in Safavid Iran. An illuminated double-page composition opens the manuscript and each poem is initiated with a decorative headpiece. The miniatures appear to have been repainted at some point in the manuscriptâ€™s history. Their date and provenance are open to question. The textblock is bound in late Zand lacquer covers with scenes depicting BahrÄm GÅ«r hunting and Khusraw watching ShÄ«rÄ«n bathing. BahrÄm GÅ«r in the yellow pavilion. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=17718. This is an illustrated copy of four of the five poems that comprise the Khamsah of Niáº“ÄmÄ« GanjavÄ« (d.605 AH / 1209 CE). It does not include LaylÃ¡ va MajnÅ«n. The text was copied by a certain YÄdkÄr the Calligrapher (al-KÄtib) in 935 AH / 1529 CE, most probably in Safavid Iran. An illuminated double-page composition opens the manuscript and each poem is initiated with a decorative headpiece. The miniatures appear to have been repainted at some point in the manuscriptâ€™s history. Their date and provenance are open to question. The textblock is bound in late Zand lacquer covers with scenes depicting BahrÄm GÅ«r hunting and Khusraw watching ShÄ«rÄ«n bathing. BahrÄm GÅ«r in the yellow pavilion. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=17718

Five poems (quintet), Walters Art Museum Ms. W.607, fol. 193b

This is an illustrated copy of four of the five poems that comprise the Khamsah of Niáº“ÄmÄ« GanjavÄ« (d.605 AH / 1209 CE). It does not include LaylÃ¡ va MajnÅ«n. The text was copied by a certain YÄdkÄr the Calligrapher (al-KÄtib) in 935 AH / 1529 CE, most probably in Safavid Iran. An illuminated double-page composition opens the manuscript and each poem is initiated with a decorative headpiece. The miniatures appear to have been repainted at some point in the manuscriptâ€™s history. Their date and provenance are open to question. The textblock is bound in late Zand lacquer covers with scenes depicting BahrÄm GÅ«r hunting and Khusraw watching ShÄ«rÄ«n bathing. Iskandar fighting the Zanghis. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=17718. This is an illustrated copy of four of the five poems that comprise the Khamsah of Niáº“ÄmÄ« GanjavÄ« (d.605 AH / 1209 CE). It does not include LaylÃ¡ va MajnÅ«n. The text was copied by a certain YÄdkÄr the Calligrapher (al-KÄtib) in 935 AH / 1529 CE, most probably in Safavid Iran. An illuminated double-page composition opens the manuscript and each poem is initiated with a decorative headpiece. The miniatures appear to have been repainted at some point in the manuscriptâ€™s history. Their date and provenance are open to question. The textblock is bound in late Zand lacquer covers with scenes depicting BahrÄm GÅ«r hunting and Khusraw watching ShÄ«rÄ«n bathing. Iskandar fighting the Zanghis. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=17718

CGN Simplon Ship-Geneva-Yvoire

La Compagnie gÃ©nÃ©rale de navigation sur le Lac LÃ©man - CGN est une sociÃ©tÃ© suisse de transport par bateaux sur le lac LÃ©man en Suisse et en France. La sociÃ©tÃ© possÃ¨de dix-neuf bateaux, d'une capacitÃ© comprise entre 150 et plus de 1 000 passagers. La Compagnie gÃ©nÃ©rale de navigation sur le Lac LÃ©man - CGN est une sociÃ©tÃ© suisse de transport par bateaux sur le lac LÃ©man en Suisse et en France. La sociÃ©tÃ© possÃ¨de dix-neuf bateaux, d'une capacitÃ© comprise entre 150 et plus de 1 000 passagers.

CGN Simplon Ship-Geneva-Yvoire

La Compagnie gÃ©nÃ©rale de navigation sur le Lac LÃ©man - CGN est une sociÃ©tÃ© suisse de transport par bateaux sur le lac LÃ©man en Suisse et en France. La sociÃ©tÃ© possÃ¨de dix-neuf bateaux, d'une capacitÃ© comprise entre 150 et plus de 1 000 passagers. La Compagnie gÃ©nÃ©rale de navigation sur le Lac LÃ©man - CGN est une sociÃ©tÃ© suisse de transport par bateaux sur le lac LÃ©man en Suisse et en France. La sociÃ©tÃ© possÃ¨de dix-neuf bateaux, d'une capacitÃ© comprise entre 150 et plus de 1 000 passagers.

Five poems (quintet), Walters Art Museum Ms. W.607, fol. 93a

This is an illustrated copy of four of the five poems that comprise the Khamsah of Niáº“ÄmÄ« GanjavÄ« (d.605 AH / 1209 CE). It does not include LaylÃ¡ va MajnÅ«n. The text was copied by a certain YÄdkÄr the Calligrapher (al-KÄtib) in 935 AH / 1529 CE, most probably in Safavid Iran. An illuminated double-page composition opens the manuscript and each poem is initiated with a decorative headpiece. The miniatures appear to have been repainted at some point in the manuscriptâ€™s history. Their date and provenance are open to question. The textblock is bound in late Zand lacquer covers with scenes depicting BahrÄm GÅ«r hunting and Khusraw watching ShÄ«rÄ«n bathing. Khusraw and ShÄ«rÄ«n in the palace. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=17718. This is an illustrated copy of four of the five poems that comprise the Khamsah of Niáº“ÄmÄ« GanjavÄ« (d.605 AH / 1209 CE). It does not include LaylÃ¡ va MajnÅ«n. The text was copied by a certain YÄdkÄr the Calligrapher (al-KÄtib) in 935 AH / 1529 CE, most probably in Safavid Iran. An illuminated double-page composition opens the manuscript and each poem is initiated with a decorative headpiece. The miniatures appear to have been repainted at some point in the manuscriptâ€™s history. Their date and provenance are open to question. The textblock is bound in late Zand lacquer covers with scenes depicting BahrÄm GÅ«r hunting and Khusraw watching ShÄ«rÄ«n bathing. Khusraw and ShÄ«rÄ«n in the palace. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=17718

Five poems (quintet), Walters Art Museum Ms. W.607, fol. 165a

This is an illustrated copy of four of the five poems that comprise the Khamsah of Niáº“ÄmÄ« GanjavÄ« (d.605 AH / 1209 CE). It does not include LaylÃ¡ va MajnÅ«n. The text was copied by a certain YÄdkÄr the Calligrapher (al-KÄtib) in 935 AH / 1529 CE, most probably in Safavid Iran. An illuminated double-page composition opens the manuscript and each poem is initiated with a decorative headpiece. The miniatures appear to have been repainted at some point in the manuscriptâ€™s history. Their date and provenance are open to question. The textblock is bound in late Zand lacquer covers with scenes depicting BahrÄm GÅ«r hunting and Khusraw watching ShÄ«rÄ«n bathing. BahrÄm GÅ«r in the sandal-wood pavilion. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=17718. This is an illustrated copy of four of the five poems that comprise the Khamsah of Niáº“ÄmÄ« GanjavÄ« (d.605 AH / 1209 CE). It does not include LaylÃ¡ va MajnÅ«n. The text was copied by a certain YÄdkÄr the Calligrapher (al-KÄtib) in 935 AH / 1529 CE, most probably in Safavid Iran. An illuminated double-page composition opens the manuscript and each poem is initiated with a decorative headpiece. The miniatures appear to have been repainted at some point in the manuscriptâ€™s history. Their date and provenance are open to question. The textblock is bound in late Zand lacquer covers with scenes depicting BahrÄm GÅ«r hunting and Khusraw watching ShÄ«rÄ«n bathing. BahrÄm GÅ«r in the sandal-wood pavilion. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=17718

Five poems (quintet), Walters Art Museum Ms. W.607, fol. 15a

This is an illustrated copy of four of the five poems that comprise the Khamsah of Niáº“ÄmÄ« GanjavÄ« (d.605 AH / 1209 CE). It does not include LaylÃ¡ va MajnÅ«n. The text was copied by a certain YÄdkÄr the Calligrapher (al-KÄtib) in 935 AH / 1529 CE, most probably in Safavid Iran. An illuminated double-page composition opens the manuscript and each poem is initiated with a decorative headpiece. The miniatures appear to have been repainted at some point in the manuscriptâ€™s history. Their date and provenance are open to question. The textblock is bound in late Zand lacquer covers with scenes depicting BahrÄm GÅ«r hunting and Khusraw watching ShÄ«rÄ«n bathing. Riding through a ruined village, the Sasanian NÅ«shirvÄn and his Prime Minster DastÅ«r see two owls talking. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=17718. This is an illustrated copy of four of the five poems that comprise the Khamsah of Niáº“ÄmÄ« GanjavÄ« (d.605 AH / 1209 CE). It does not include LaylÃ¡ va MajnÅ«n. The text was copied by a certain YÄdkÄr the Calligrapher (al-KÄtib) in 935 AH / 1529 CE, most probably in Safavid Iran. An illuminated double-page composition opens the manuscript and each poem is initiated with a decorative headpiece. The miniatures appear to have been repainted at some point in the manuscriptâ€™s history. Their date and provenance are open to question. The textblock is bound in late Zand lacquer covers with scenes depicting BahrÄm GÅ«r hunting and Khusraw watching ShÄ«rÄ«n bathing. Riding through a ruined village, the Sasanian NÅ«shirvÄn and his Prime Minster DastÅ«r see two owls talking. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=17718

Jelly Fungi.

The jelly fungi comprise a diverse and complicated group within the Basidiomycetes. Identification of species often hinges on microscopic examination, and things are further complicated by the fact that it is often difficult to transport a jelly fungus home in "examinable" condition, to say nothing of the difficulties encountered with trying to dry and preserve specimens. The jelly fungi comprise a diverse and complicated group within the Basidiomycetes. Identification of species often hinges on microscopic examination, and things are further complicated by the fact that it is often difficult to transport a jelly fungus home in "examinable" condition, to say nothing of the difficulties encountered with trying to dry and preserve specimens.

Five poems (quintet), Walters Art Museum Ms. W.607, fol. 86a

This is an illustrated copy of four of the five poems that comprise the Khamsah of Niáº“ÄmÄ« GanjavÄ« (d.605 AH / 1209 CE). It does not include LaylÃ¡ va MajnÅ«n. The text was copied by a certain YÄdkÄr the Calligrapher (al-KÄtib) in 935 AH / 1529 CE, most probably in Safavid Iran. An illuminated double-page composition opens the manuscript and each poem is initiated with a decorative headpiece. The miniatures appear to have been repainted at some point in the manuscriptâ€™s history. Their date and provenance are open to question. The textblock is bound in late Zand lacquer covers with scenes depicting BahrÄm GÅ«r hunting and Khusraw watching ShÄ«rÄ«n bathing. Khusraw announcing his marriage to Shakar. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=17718. This is an illustrated copy of four of the five poems that comprise the Khamsah of Niáº“ÄmÄ« GanjavÄ« (d.605 AH / 1209 CE). It does not include LaylÃ¡ va MajnÅ«n. The text was copied by a certain YÄdkÄr the Calligrapher (al-KÄtib) in 935 AH / 1529 CE, most probably in Safavid Iran. An illuminated double-page composition opens the manuscript and each poem is initiated with a decorative headpiece. The miniatures appear to have been repainted at some point in the manuscriptâ€™s history. Their date and provenance are open to question. The textblock is bound in late Zand lacquer covers with scenes depicting BahrÄm GÅ«r hunting and Khusraw watching ShÄ«rÄ«n bathing. Khusraw announcing his marriage to Shakar. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=17718

Five poems (quintet), Walters Art Museum Ms. W.607, fol. 261b

This is an illustrated copy of four of the five poems that comprise the Khamsah of Niáº“ÄmÄ« GanjavÄ« (d.605 AH / 1209 CE). It does not include LaylÃ¡ va MajnÅ«n. The text was copied by a certain YÄdkÄr the Calligrapher (al-KÄtib) in 935 AH / 1529 CE, most probably in Safavid Iran. An illuminated double-page composition opens the manuscript and each poem is initiated with a decorative headpiece. The miniatures appear to have been repainted at some point in the manuscriptâ€™s history. Their date and provenance are open to question. The textblock is bound in late Zand lacquer covers with scenes depicting BahrÄm GÅ«r hunting and Khusraw watching ShÄ«rÄ«n bathing. This illuminated incipit page introduces the IqbÄlnÄmah, which is the second part of IskandarnÄmah. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=17718. This is an illustrated copy of four of the five poems that comprise the Khamsah of Niáº“ÄmÄ« GanjavÄ« (d.605 AH / 1209 CE). It does not include LaylÃ¡ va MajnÅ«n. The text was copied by a certain YÄdkÄr the Calligrapher (al-KÄtib) in 935 AH / 1529 CE, most probably in Safavid Iran. An illuminated double-page composition opens the manuscript and each poem is initiated with a decorative headpiece. The miniatures appear to have been repainted at some point in the manuscriptâ€™s history. Their date and provenance are open to question. The textblock is bound in late Zand lacquer covers with scenes depicting BahrÄm GÅ«r hunting and Khusraw watching ShÄ«rÄ«n bathing. This illuminated incipit page introduces the IqbÄlnÄmah, which is the second part of IskandarnÄmah. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=17718

CGN Simplon Ship-Geneva-Yvoire

La Compagnie gÃ©nÃ©rale de navigation sur le Lac LÃ©man - CGN est une sociÃ©tÃ© suisse de transport par bateaux sur le lac LÃ©man en Suisse et en France. La sociÃ©tÃ© possÃ¨de dix-neuf bateaux, d'une capacitÃ© comprise entre 150 et plus de 1 000 passagers. La Compagnie gÃ©nÃ©rale de navigation sur le Lac LÃ©man - CGN est une sociÃ©tÃ© suisse de transport par bateaux sur le lac LÃ©man en Suisse et en France. La sociÃ©tÃ© possÃ¨de dix-neuf bateaux, d'une capacitÃ© comprise entre 150 et plus de 1 000 passagers.

Common butterfly Silverspot (Argynnis Ino&#x29

A butterfly is a mainly day-flying insect of the order Lepidoptera, which includes the butterflies and moths. Like other holometabolous insects, the butterfly's life cycle consists of four parts: egg, larva, pupa and adult. Most species are diurnal. Butterflies have large, often brightly coloured wings, and conspicuous, fluttering flight. Butterflies comprise the true butterflies (superfamily Papilionoidea), the skippers (superfamily Hesperioidea) and the moth-butterflies (superfamily Hedyloidea). All the many other families within the Lepidoptera are referred to as moths. The earliest known butterfly fossils date to the mid Eocene epoch, 40â€“50 million years ago. A butterfly is a mainly day-flying insect of the order Lepidoptera, which includes the butterflies and moths. Like other holometabolous insects, the butterfly's life cycle consists of four parts: egg, larva, pupa and adult. Most species are diurnal. Butterflies have large, often brightly coloured wings, and conspicuous, fluttering flight. Butterflies comprise the true butterflies (superfamily Papilionoidea), the skippers (superfamily Hesperioidea) and the moth-butterflies (superfamily Hedyloidea). All the many other families within the Lepidoptera are referred to as moths. The earliest known butterfly fossils date to the mid Eocene epoch, 40â€“50 million years ago.

Red Roses Valentine card

Red roses on a white satin background comprise this illustration. Red roses on a white satin background comprise this illustration

The Narrow-Bordered Five-Spot Burnet (Zygaena lonicerae)s Schneider&#x29

A butterfly is a mainly day-flying insect of the order Lepidoptera, which includes the butterflies and moths. Like other holometabolous insects, the butterfly's life cycle consists of four parts: egg, larva, pupa and adult. Most species are diurnal. Butterflies have large, often brightly coloured wings, and conspicuous, fluttering flight. Butterflies comprise the true butterflies (superfamily Papilionoidea), the skippers (superfamily Hesperioidea) and the moth-butterflies (superfamily Hedyloidea). All the many other families within the Lepidoptera are referred to as moths. The earliest known butterfly fossils date to the mid Eocene epoch, 40â€“50 million years ago. A butterfly is a mainly day-flying insect of the order Lepidoptera, which includes the butterflies and moths. Like other holometabolous insects, the butterfly's life cycle consists of four parts: egg, larva, pupa and adult. Most species are diurnal. Butterflies have large, often brightly coloured wings, and conspicuous, fluttering flight. Butterflies comprise the true butterflies (superfamily Papilionoidea), the skippers (superfamily Hesperioidea) and the moth-butterflies (superfamily Hedyloidea). All the many other families within the Lepidoptera are referred to as moths. The earliest known butterfly fossils date to the mid Eocene epoch, 40â€“50 million years ago.

Five poems (quintet), Walters Art Museum Ms. W.607, fol. 145b

This is an illustrated copy of four of the five poems that comprise the Khamsah of Niáº“ÄmÄ« GanjavÄ« (d.605 AH / 1209 CE). It does not include LaylÃ¡ va MajnÅ«n. The text was copied by a certain YÄdkÄr the Calligrapher (al-KÄtib) in 935 AH / 1529 CE, most probably in Safavid Iran. An illuminated double-page composition opens the manuscript and each poem is initiated with a decorative headpiece. The miniatures appear to have been repainted at some point in the manuscriptâ€™s history. Their date and provenance are open to question. The textblock is bound in late Zand lacquer covers with scenes depicting BahrÄm GÅ«r hunting and Khusraw watching ShÄ«rÄ«n bathing. BahrÄm GÅ«r in the black pavilion. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=17718. This is an illustrated copy of four of the five poems that comprise the Khamsah of Niáº“ÄmÄ« GanjavÄ« (d.605 AH / 1209 CE). It does not include LaylÃ¡ va MajnÅ«n. The text was copied by a certain YÄdkÄr the Calligrapher (al-KÄtib) in 935 AH / 1529 CE, most probably in Safavid Iran. An illuminated double-page composition opens the manuscript and each poem is initiated with a decorative headpiece. The miniatures appear to have been repainted at some point in the manuscriptâ€™s history. Their date and provenance are open to question. The textblock is bound in late Zand lacquer covers with scenes depicting BahrÄm GÅ«r hunting and Khusraw watching ShÄ«rÄ«n bathing. BahrÄm GÅ«r in the black pavilion. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=17718

CGN Simplon Ship-Geneva-Yvoire

La Compagnie gÃ©nÃ©rale de navigation sur le Lac LÃ©man - CGN est une sociÃ©tÃ© suisse de transport par bateaux sur le lac LÃ©man en Suisse et en France. La sociÃ©tÃ© possÃ¨de dix-neuf bateaux, d'une capacitÃ© comprise entre 150 et plus de 1 000 passagers. La Compagnie gÃ©nÃ©rale de navigation sur le Lac LÃ©man - CGN est une sociÃ©tÃ© suisse de transport par bateaux sur le lac LÃ©man en Suisse et en France. La sociÃ©tÃ© possÃ¨de dix-neuf bateaux, d'une capacitÃ© comprise entre 150 et plus de 1 000 passagers.

Five poems (quintet), Walters Art Museum Ms. W.607, fol. 33b

This is an illustrated copy of four of the five poems that comprise the Khamsah of Niáº“ÄmÄ« GanjavÄ« (d.605 AH / 1209 CE). It does not include LaylÃ¡ va MajnÅ«n. The text was copied by a certain YÄdkÄr the Calligrapher (al-KÄtib) in 935 AH / 1529 CE, most probably in Safavid Iran. An illuminated double-page composition opens the manuscript and each poem is initiated with a decorative headpiece. The miniatures appear to have been repainted at some point in the manuscriptâ€™s history. Their date and provenance are open to question. The textblock is bound in late Zand lacquer covers with scenes depicting BahrÄm GÅ«r hunting and Khusraw watching ShÄ«rÄ«n bathing. This illuminated incipit page introduces the story of Khusraw va ShÄ«rÄ«n. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=17718. This is an illustrated copy of four of the five poems that comprise the Khamsah of Niáº“ÄmÄ« GanjavÄ« (d.605 AH / 1209 CE). It does not include LaylÃ¡ va MajnÅ«n. The text was copied by a certain YÄdkÄr the Calligrapher (al-KÄtib) in 935 AH / 1529 CE, most probably in Safavid Iran. An illuminated double-page composition opens the manuscript and each poem is initiated with a decorative headpiece. The miniatures appear to have been repainted at some point in the manuscriptâ€™s history. Their date and provenance are open to question. The textblock is bound in late Zand lacquer covers with scenes depicting BahrÄm GÅ«r hunting and Khusraw watching ShÄ«rÄ«n bathing. This illuminated incipit page introduces the story of Khusraw va ShÄ«rÄ«n. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=17718

Five poems (quintet), Walters Art Museum Ms. W.607, fol. 168a

This is an illustrated copy of four of the five poems that comprise the Khamsah of Niáº“ÄmÄ« GanjavÄ« (d.605 AH / 1209 CE). It does not include LaylÃ¡ va MajnÅ«n. The text was copied by a certain YÄdkÄr the Calligrapher (al-KÄtib) in 935 AH / 1529 CE, most probably in Safavid Iran. An illuminated double-page composition opens the manuscript and each poem is initiated with a decorative headpiece. The miniatures appear to have been repainted at some point in the manuscriptâ€™s history. Their date and provenance are open to question. The textblock is bound in late Zand lacquer covers with scenes depicting BahrÄm GÅ«r hunting and Khusraw watching ShÄ«rÄ«n bathing. BahrÄm GÅ«r in the white pavilion. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=17718. This is an illustrated copy of four of the five poems that comprise the Khamsah of Niáº“ÄmÄ« GanjavÄ« (d.605 AH / 1209 CE). It does not include LaylÃ¡ va MajnÅ«n. The text was copied by a certain YÄdkÄr the Calligrapher (al-KÄtib) in 935 AH / 1529 CE, most probably in Safavid Iran. An illuminated double-page composition opens the manuscript and each poem is initiated with a decorative headpiece. The miniatures appear to have been repainted at some point in the manuscriptâ€™s history. Their date and provenance are open to question. The textblock is bound in late Zand lacquer covers with scenes depicting BahrÄm GÅ«r hunting and Khusraw watching ShÄ«rÄ«n bathing. BahrÄm GÅ«r in the white pavilion. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=17718

Happy Valentine's Day Card Illustration

Pinkish roses and pink hearts on a white background all isolated on a pink background comprise this illustration. Pinkish roses and pink hearts on a white background all isolated on a pink background comprise this illustration

Five poems (quintet), Walters Art Museum Ms. W.607, fol. 197b

This is an illustrated copy of four of the five poems that comprise the Khamsah of Niáº“ÄmÄ« GanjavÄ« (d.605 AH / 1209 CE). It does not include LaylÃ¡ va MajnÅ«n. The text was copied by a certain YÄdkÄr the Calligrapher (al-KÄtib) in 935 AH / 1529 CE, most probably in Safavid Iran. An illuminated double-page composition opens the manuscript and each poem is initiated with a decorative headpiece. The miniatures appear to have been repainted at some point in the manuscriptâ€™s history. Their date and provenance are open to question. The textblock is bound in late Zand lacquer covers with scenes depicting BahrÄm GÅ«r hunting and Khusraw watching ShÄ«rÄ«n bathing. Iskandarâ€™s victory over the Zanghis. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=17718. This is an illustrated copy of four of the five poems that comprise the Khamsah of Niáº“ÄmÄ« GanjavÄ« (d.605 AH / 1209 CE). It does not include LaylÃ¡ va MajnÅ«n. The text was copied by a certain YÄdkÄr the Calligrapher (al-KÄtib) in 935 AH / 1529 CE, most probably in Safavid Iran. An illuminated double-page composition opens the manuscript and each poem is initiated with a decorative headpiece. The miniatures appear to have been repainted at some point in the manuscriptâ€™s history. Their date and provenance are open to question. The textblock is bound in late Zand lacquer covers with scenes depicting BahrÄm GÅ«r hunting and Khusraw watching ShÄ«rÄ«n bathing. Iskandarâ€™s victory over the Zanghis. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=17718

Five poems (quintet), Walters Art Museum Ms. W.607, fol. 160a

This is an illustrated copy of four of the five poems that comprise the Khamsah of Niáº“ÄmÄ« GanjavÄ« (d.605 AH / 1209 CE). It does not include LaylÃ¡ va MajnÅ«n. The text was copied by a certain YÄdkÄr the Calligrapher (al-KÄtib) in 935 AH / 1529 CE, most probably in Safavid Iran. An illuminated double-page composition opens the manuscript and each poem is initiated with a decorative headpiece. The miniatures appear to have been repainted at some point in the manuscriptâ€™s history. Their date and provenance are open to question. The textblock is bound in late Zand lacquer covers with scenes depicting BahrÄm GÅ«r hunting and Khusraw watching ShÄ«rÄ«n bathing. BahrÄm GÅ«r in the blue pavilion. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=17718. This is an illustrated copy of four of the five poems that comprise the Khamsah of Niáº“ÄmÄ« GanjavÄ« (d.605 AH / 1209 CE). It does not include LaylÃ¡ va MajnÅ«n. The text was copied by a certain YÄdkÄr the Calligrapher (al-KÄtib) in 935 AH / 1529 CE, most probably in Safavid Iran. An illuminated double-page composition opens the manuscript and each poem is initiated with a decorative headpiece. The miniatures appear to have been repainted at some point in the manuscriptâ€™s history. Their date and provenance are open to question. The textblock is bound in late Zand lacquer covers with scenes depicting BahrÄm GÅ«r hunting and Khusraw watching ShÄ«rÄ«n bathing. BahrÄm GÅ«r in the blue pavilion. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=17718

Five poems (quintet), Walters Art Museum Ms. W.607, fol. 119b

This is an illustrated copy of four of the five poems that comprise the Khamsah of Niáº“ÄmÄ« GanjavÄ« (d.605 AH / 1209 CE). It does not include LaylÃ¡ va MajnÅ«n. The text was copied by a certain YÄdkÄr the Calligrapher (al-KÄtib) in 935 AH / 1529 CE, most probably in Safavid Iran. An illuminated double-page composition opens the manuscript and each poem is initiated with a decorative headpiece. The miniatures appear to have been repainted at some point in the manuscriptâ€™s history. Their date and provenance are open to question. The textblock is bound in late Zand lacquer covers with scenes depicting BahrÄm GÅ«r hunting and Khusraw watching ShÄ«rÄ«n bathing. This illuminated incipit page with headpiece begins the Haft paykar. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=17718. This is an illustrated copy of four of the five poems that comprise the Khamsah of Niáº“ÄmÄ« GanjavÄ« (d.605 AH / 1209 CE). It does not include LaylÃ¡ va MajnÅ«n. The text was copied by a certain YÄdkÄr the Calligrapher (al-KÄtib) in 935 AH / 1529 CE, most probably in Safavid Iran. An illuminated double-page composition opens the manuscript and each poem is initiated with a decorative headpiece. The miniatures appear to have been repainted at some point in the manuscriptâ€™s history. Their date and provenance are open to question. The textblock is bound in late Zand lacquer covers with scenes depicting BahrÄm GÅ«r hunting and Khusraw watching ShÄ«rÄ«n bathing. This illuminated incipit page with headpiece begins the Haft paykar. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=17718

Sultan ahmed mosque

Sultan ahmed mosque in insatnbul sultanahmet

Five poems (quintet), Walters Art Museum Ms. W.607, fol. 258b

This is an illustrated copy of four of the five poems that comprise the Khamsah of Niáº“ÄmÄ« GanjavÄ« (d.605 AH / 1209 CE). It does not include LaylÃ¡ va MajnÅ«n. The text was copied by a certain YÄdkÄr the Calligrapher (al-KÄtib) in 935 AH / 1529 CE, most probably in Safavid Iran. An illuminated double-page composition opens the manuscript and each poem is initiated with a decorative headpiece. The miniatures appear to have been repainted at some point in the manuscriptâ€™s history. Their date and provenance are open to question. The textblock is bound in late Zand lacquer covers with scenes depicting BahrÄm GÅ«r hunting and Khusraw watching ShÄ«rÄ«n bathing. Iskandar in search of the fountain of life passes by a cave, before which sit the prophets Khiá¸r and IlyÄs. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=17718. This is an illustrated copy of four of the five poems that comprise the Khamsah of Niáº“ÄmÄ« GanjavÄ« (d.605 AH / 1209 CE). It does not include LaylÃ¡ va MajnÅ«n. The text was copied by a certain YÄdkÄr the Calligrapher (al-KÄtib) in 935 AH / 1529 CE, most probably in Safavid Iran. An illuminated double-page composition opens the manuscript and each poem is initiated with a decorative headpiece. The miniatures appear to have been repainted at some point in the manuscriptâ€™s history. Their date and provenance are open to question. The textblock is bound in late Zand lacquer covers with scenes depicting BahrÄm GÅ«r hunting and Khusraw watching ShÄ«rÄ«n bathing. Iskandar in search of the fountain of life passes by a cave, before which sit the prophets Khiá¸r and IlyÄs. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=17718

Five poems (quintet), Walters Art Museum Ms. W.607, fol. 2a

This is an illustrated copy of four of the five poems that comprise the Khamsah of Niáº“ÄmÄ« GanjavÄ« (d.605 AH / 1209 CE). It does not include LaylÃ¡ va MajnÅ«n. The text was copied by a certain YÄdkÄr the Calligrapher (al-KÄtib) in 935 AH / 1529 CE, most probably in Safavid Iran. An illuminated double-page composition opens the manuscript and each poem is initiated with a decorative headpiece. The miniatures appear to have been repainted at some point in the manuscriptâ€™s history. Their date and provenance are open to question. The textblock is bound in late Zand lacquer covers with scenes depicting BahrÄm GÅ«r hunting and Khusraw watching ShÄ«rÄ«n bathing. This is the left side of an illuminated double-page opening initiating the poem Makhzan-i asrÄr. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=17718. This is an illustrated copy of four of the five poems that comprise the Khamsah of Niáº“ÄmÄ« GanjavÄ« (d.605 AH / 1209 CE). It does not include LaylÃ¡ va MajnÅ«n. The text was copied by a certain YÄdkÄr the Calligrapher (al-KÄtib) in 935 AH / 1529 CE, most probably in Safavid Iran. An illuminated double-page composition opens the manuscript and each poem is initiated with a decorative headpiece. The miniatures appear to have been repainted at some point in the manuscriptâ€™s history. Their date and provenance are open to question. The textblock is bound in late Zand lacquer covers with scenes depicting BahrÄm GÅ«r hunting and Khusraw watching ShÄ«rÄ«n bathing. This is the left side of an illuminated double-page opening initiating the poem Makhzan-i asrÄr. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=17718

Five poems (quintet), Walters Art Museum Ms. W.607, fol. 110a

This is an illustrated copy of four of the five poems that comprise the Khamsah of Niáº“ÄmÄ« GanjavÄ« (d.605 AH / 1209 CE). It does not include LaylÃ¡ va MajnÅ«n. The text was copied by a certain YÄdkÄr the Calligrapher (al-KÄtib) in 935 AH / 1529 CE, most probably in Safavid Iran. An illuminated double-page composition opens the manuscript and each poem is initiated with a decorative headpiece. The miniatures appear to have been repainted at some point in the manuscriptâ€™s history. Their date and provenance are open to question. ShÄ«rÅ«yah stabbing Khusraw, his father. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=17718. This is an illustrated copy of four of the five poems that comprise the Khamsah of Niáº“ÄmÄ« GanjavÄ« (d.605 AH / 1209 CE). It does not include LaylÃ¡ va MajnÅ«n. The text was copied by a certain YÄdkÄr the Calligrapher (al-KÄtib) in 935 AH / 1529 CE, most probably in Safavid Iran. An illuminated double-page composition opens the manuscript and each poem is initiated with a decorative headpiece. The miniatures appear to have been repainted at some point in the manuscriptâ€™s history. Their date and provenance are open to question. ShÄ«rÅ«yah stabbing Khusraw, his father. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=17718

Five poems (quintet), Walters Art Museum Ms. W.607, fol. 1b

This is an illustrated copy of four of the five poems that comprise the Khamsah of Niáº“ÄmÄ« GanjavÄ« (d.605 AH / 1209 CE). It does not include LaylÃ¡ va MajnÅ«n. The text was copied by a certain YÄdkÄr the Calligrapher (al-KÄtib) in 935 AH / 1529 CE, most probably in Safavid Iran. An illuminated double-page composition opens the manuscript and each poem is initiated with a decorative headpiece. The miniatures appear to have been repainted at some point in the manuscriptâ€™s history. Their date and provenance are open to question. The textblock is bound in late Zand lacquer covers with scenes depicting BahrÄm GÅ«r hunting and Khusraw watching ShÄ«rÄ«n bathing. This is the right side of a double-page illuminated opening for the first poem KitÄb-i Makhzan-i asrÄr. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=17718. This is an illustrated copy of four of the five poems that comprise the Khamsah of Niáº“ÄmÄ« GanjavÄ« (d.605 AH / 1209 CE). It does not include LaylÃ¡ va MajnÅ«n. The text was copied by a certain YÄdkÄr the Calligrapher (al-KÄtib) in 935 AH / 1529 CE, most probably in Safavid Iran. An illuminated double-page composition opens the manuscript and each poem is initiated with a decorative headpiece. The miniatures appear to have been repainted at some point in the manuscriptâ€™s history. Their date and provenance are open to question. The textblock is bound in late Zand lacquer covers with scenes depicting BahrÄm GÅ«r hunting and Khusraw watching ShÄ«rÄ«n bathing. This is the right side of a double-page illuminated opening for the first poem KitÄb-i Makhzan-i asrÄr. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=17718

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