A work entitled “Khorasān in Affliction” was transcribed at Lahore for the Emperor of Hindūstān, during the sixteenth century,[279] which represents an expenditure of many thousand dollars. The calligraphy is the work of a famous scribe, who, on account of his beautiful penmanship, was called “The Pen of Gold.” Sixteen eminent artists were engaged in the embellishment of this manuscript of one hundred and thirty-four pages; five were employed upon the illuminations and marginal arabesques; and five upon the finely colored illustrations; there were three engaged upon the hunting scenes and animals, while three others painted the faces in the vignettes and margins. The leaves of the book are of soft silken Kashmīrian paper, tinted in the softest shades of various harmonious colors. The broad margins are illuminated with chaste designs painted with liquid gold, and no two pages are alike. Some of these designs represent mosaic work, others are in running patterns, and many of them are delineations of field sports, where the simple outlines of gold indicate, with marvelous accuracy, the various forms of animal life. This was placed in the library of Shāh Jehān,[280] with the emperor’s autograph, as the gem of his collection, and underneath it is a second autograph of another of the royal descendants of Timūr. This elaborate manuscript is not only indicative of the great popularity of Jāmi, but it also shows the liberal patronage which existed for all works of art under the princes of the house of Timūr. The grave of Jāmi is at Herāt, where he was laid[281] at the age of eighty-one years, and this illustrious name completes the list of the seven great poets of Persia who have been called “The Persian Pleiades.” THE WORKS OF JĀMI. Although this author was a voluminous writer, still his most important works may be briefly summarized; there is a book on ethics and education containing anecdotes and fables, written both in prose and verse, after the manner adopted by Sā’-dī, and like the Gūlistān, it is divided into eight chapters. One of his books, entitled “Irshad” or “Instructions,” was dedicated to a Turkish Sultan—Al Fāteh, “The Conqueror.” “The Seven Thrones” is considered by an eminent native critic[282] to combine the most exquisite compositions in the Persian language, except the “Five Poems” of the celebrated Nizāmī. The seven gems which are thus alluded to bear the following titles: (1) The Chain of Gold; (2) Selmān and Absāl; (3) The Present of the Just; (4) The Rosary; (5) The Loves of Lailī and Majnūn; (6) Yūsuf and Zulaikhā; (7) The Book of Alexander the Great. The character of Jāmi’s style may be represented by the following extract from Yūsuf and Zulaikhā, which is a description of the reception of a Persian bride at an Egyptian court: RECEPTION.