üstem, disguised in armor, a mysterious and unidentified  of deatting eac name, claser Osman—for wime—looked upon hing in a

    lake by moonliging as ter an extended separation, and a spirited picture, all aflutter rees and floire ogetrue great master,  tention to some oddity in a corner of even t painting, pero do  on t of tor or perion of colors: As miged, ening to a cal by ing, but see t kind of sad and spiteful painter  ominous oree branc lovely boy dressed in ian rying to peel tasty oranges   later on oo, would be blinded?

    e saed Prop during e-bearded old man symbolizing Saturn; and baby Rüstem sleeping peacefully in co ted on a black rils bore no peculiarity, and ter Osman rapidly picked out t t times recognize an artist and s an illustrator’s signature ures and colopermine  susurrus of turning pages could be er Osman  “A I kept my peace, unable to understand imes  ered tion or arrangement of trees and mounted soldiers of a particular illustration in ot scenes of completely different stories, and  out tures again to jog my memory. ure in a version of Nizami’s Quintet from time of tamerlane’s son S is, from nearly ty or eigo ask me  t turists ed ture  ion o paint is to remember.”

    Opening and sting old illuminated manuscripts, Master Osman  ted ed pieces (for all miniaturists  tist  is, old pictures of trees, angels, parasols, tigers, tents, dragons and melanc ed at ime y of o us, s. ty of illustrators and of t, gaze upon to remember t Alla to us. test ma