. International studio. -ming, the Turkish invasion, the Shahs first words reign, Heratthrove as never before; her wealth passed into aproverb; and the new potentates court was far-famed, too, for its intellectual character. ForHusayn was an enthusiastic connoisseur; he waspersonally a writer, alike of verse and prose; he were an enquiry concerning the welfare of hisloved to have men of taste around him. And beloved painter. With this keen favor fromthus, under him, Herat became, even more than Ismail, Bihzad inevitably spent the rest of hispreviously, a rallying ground for workers in all life
. International studio. -ming, the Turkish invasion, the Shahs first words reign, Heratthrove as never before; her wealth passed into aproverb; and the new potentates court was far-famed, too, for its intellectual character. ForHusayn was an enthusiastic connoisseur; he waspersonally a writer, alike of verse and prose; he were an enquiry concerning the welfare of hisloved to have men of taste around him. And beloved painter. With this keen favor fromthus, under him, Herat became, even more than Ismail, Bihzad inevitably spent the rest of hispreviously, a rallying ground for workers in all life at Tabriz. And his tomb there is pointed outfields of art. It docs not appear to be known yet to the traveler, i$2<,- having been the year ofexactly where, or when, Bihzad was born, the the masters death. master settling at Herat on the eve of the sixteenth Nizami and Sadi, both of whom lived in the century, and ere long he was working almost twelfth century, were still popular throughout / wenty-Jour m a k c h 1922. WARRIOR In MOHAMMED MOUKIM—INDIAN XVI CENTURY Persia, in the Safavidperiod. And those twowere among the poets, copies of whose writingswere illustrated by Bihzad. As a rule he signed hispictures, writing before his name sometimes Alfaghir, or the poor, sometimes Pir gbulam, or oldservant. But since these signatures are usuallymicroscopic, and put in a part of the picture wherethey would be the least likely to be noticed, it neednot be deduced, from their tenor, that the greatartist was addicted to moek-modesty. A beautifuldraughtsman, his lines apparently conveying everiust what he desired they should convey, lie wouldseem, nevertheless, to have admired restraint fullyas much as his Western contemporary, further resembling that masters work,Bihzads is nearly always neat and orderly, almostprim. But there was in him none oi Holbeinsausterity; he had the typical Persian affectionlor llowers. He loved to depict his group oi peoplein a garden, rich in
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