The binding, Oriental of black leather (rather damaged), seems to be original, of light brown leather with a simple geometrical design with three small green medallions imprinted for ornament. The lower corner of the upper cover is broken.
The paper is white, European, with several water marks:
1. f.73 - emblem in the shape of a vase with a crowned bird and the inscription: GIOR' MAGNANI
2. f.113-5 - a man standing on the ball, having in his hand a roll with the inscription: Anabell Anibrio (?)
3. f.154 - an emblem in the shape of a prolongated vase and inscription: BEN PIGARDO EFIGI
4. f.157 - big vase, maybe with monogramme
5. f.164-5 - a vase and inscription: GIO BATTA DE FERRARI 18
6. f.201 - emblem with 3 6-cornered stars and letters GTG
The paper has suffered from burns (ff. 3-4) and water (especially f. 57v).
The text is iof rough nasta'liq in Indian ink, with headings in red.
The page has an outside margin of blue (or two thin black lins, with gold), and ruled lines of two thin black with gold, thick gold, thin black, wide space, and two thin black with gold text around the text block. The columns and rubrics are ruled in single red lines. The sample page actually depicted here is fol. 119v, which contains the library seal of the Monastery.
The volume purports to be part 2 only, starting with the reign of Luhrasp, but it contains passages from part 1 also, together with various lacunae, and folios bound in the wrong order, as is clear from the Incipit: Kunun takht-u aurang-i Luhrasp shah… and Explicit (f. 307v): az in kar-i Khusrau chi burdan shudim //
Su-yi kar-i Luhrasp baz amadim.
There is a very unusual system of coustods: not only one or two catch words are written, but the whole first misra' of the first bayt of the next page.
Illumination: fol.1v - sarlauh (185 x 152) of quite crude Qajar work, in dark blue, red (craplac), green, light green, light blue, orange and gold. The margins of ff.1v-2r are covered with a very basic floral ornament.
Illustrations: the manuscript contains 49 miniatures in Qajar style, not of court quality, but in good condition, executed by at least two artists. (F.A.)