Formerly Yildiz Palace Library 7950/308. The manuscript is undated but taken to be from the latter half of the 16th century; a note in French & Turkish on the flyleaf (f. 1r) suggests perhaps the period of Shah Tahmasp; Edhem & Stchoukine (1933), pp. 39-40 speculate that it was the copy presented by the Persian ambassador Toqmaq Khan to Sultan Murad III in May 1576. They record 23 illustrations by different hands.
The handsome binding is of 16th century, black leather framing a gold field of a floral design in the central lozenge, with two gold pendants. Red leather doublures with a central lozenge of filigree work over blue, two gold pendants, floral tooled edges with gold and filigree lozenges, carried over onto the flap.
The paper is creamy and polished. The text is contained within lavishly ruled margins: blue - space - thin red - space - 2 thin black - thick gold - 2 thin black with orange - 2 thin black with pale green - 2 thin black with orange - space - thin black. Columns: 2 x 2 thin black with green (outside columns), 2 x 2 thin black with orange (central column). Rubrics: thin pale green - orange - space - think dark blue. Script in white riqa' on a gold ground with flowering buds. Rubrics are rather sparingly used throughout the MS, and are frequently only one line of text deep.
The Preface contains attractive bands of chalipa script on ff. 7v-10r, followed by the double painting of Firdausi presenting the Shahnama and then in the bathhouse, both published in the catalogue ed. Lale Uluc. The Preface continues to f. 15r, which ends with an undated colophon that refers specifically to it being the Baysunghuri Preface. The text of the poem start on f. 15v under a nice 'unvan, incipit normative.
The MS contains the Barkhiyas interpolation in the story of Bizhan and Manizha, ff. 189v-190v.
The text ends on f. 460r, explicit: "hazaran durud...", but no colophon; it is followed by the University Library stamp.
The manuscript is rather unusual in containing almost exclusively double-page illustrations which follow two phases of the narrative, e.g. Siyavush being lead to his death and then his execution (ff. 116v-117r).