“For this reason,” Our Sultan remarked, “I could never allow my portrait to be displayed.”

“Though this is exactly what he wanted,” whispered my Enishte, with a devilish titter.

It was my turn to be frightened now.

“Nonetheless, it is my desire that my portrait be made in the style of the Frankish masters,” Our Sultan went on. “Such a portrait will, of course, have to be concealed within the pages of a book. Whatever that book might be, you shall be the one to tell me.”

“In an instant of surprise and awe, I considered his statement,” said my Enishte, then grinning more devilishly than before, he seemed, suddenly, to become someone else.

“His Excellency Our Sultan ordered me to start working on His book posthaste. My head spun with joy. He added that it ought to be prepared as a present for the Venetian Doge, whom I was to visit once again. Once the book was completed, it would become a symbol of the vanquishing power of the Islamic Caliph Our Exalted Sultan, in the thousandth year of the Hegira. He requested that I prepare the illuminated manuscript in utmost secrecy, primarily to conceal its purpose as an olive branch extended to the Venetians, but also to avoid aggravating workshop jealousies. And in a state of great elation and sworn to secrecy, I embarked upon this venture.”

I AM YOUR BELOVED UNCLE

And so it was on that Friday morning, I began to describe the book that would contain Our Sultan’s portrait painted in the Venetian style. I broached the topic to Black by recounting how I’d brought it up with Our Sultan and how I’d persuaded him to fund the book. My hidden purpose was to have Black write the stories-which I hadn’t even begun-that were meant to accompany the illustrations.

I told him I’d completed most of the book’s illustrations and that the last picture was nearly finished. “There’s a depiction of Death,” I said, “and I had the most clever of miniaturists, Stork, illustrate the tree representing the peacefulness of Our Sultan’s worldly realm. There’s a picture of Satan and a horse meant to spirit us far far away. There’s a dog, always cunning and wily, and also a gold coin…I had the master miniaturists depict these things with such beauty,” I told Black, “that if you saw them but once, you’d know straightaway what the corresponding text ought to be. Poetry and painting, words and color, these things are brothers to each other, as you well know.”

For a while, I pondered whether I should tell him I might marry off my daughter to him. Would he live together with us in this house? I told myself not to be taken in by his rapt attention and his childlike expression. I knew he was scheming to elope with my Shekure. Still, I could rely on nobody else to finish my book.

Returning together from the Friday prayers, we discussed “shadow,” the greatest of innovations manifest in the paintings of the Venetian masters. “If,” I said, “we intend to make our paintings from the perspective of pedestrians exchanging pleasantries and regarding their world; that is, if we intend to illustrate from the street, we ought to learn how to account for-as the Franks do-what is, in fact, most prevalent there: shadows.”

“How does one depict shadow?” asked Black.

From time to time, as my nephew listened, I perceived impatience in him. He’d begin to fiddle with the Mongol inkpot he’d given me as a present. At times, he’d take up the iron poker and stoke the fire in the stove. Now and then I imagined that he wanted to lower that poker onto my head and kill me because I dared to move the art of illustrating away from Allah’s perspective; because I would betray the dreams of the masters of Herat and their entire tradition of painting; because I’d duped Our Sultan into already doing so. Occasionally, Black would sit dead still for long stretches and fix his eyes deeply into mine. I could imagine what he was thinking: “I’ll be your slave until I can have your daughter.” Once, as I would do when he was a child, I took him out into the yard and tried to explain to him, as a father might, about the trees, about the light falling onto the leaves, about the melting snow and why the houses seemed to shrink as we moved away from them. But this was a mistake: It proved only that our former filial relationship had long since collapsed. Now patient sufferance of the rantings of a demented old man had taken the place of Black’s childhood curiosity and passion for knowledge. I was just an old man whose daughter was the object of Black’s love. The influence and experience of the countries and cities that my nephew had traveled through for a dozen years had been fully absorbed by his soul. He was tired of me, and I pitied him. And he was angry, I assumed, not only because I hadn’t allowed him to marry Shekure twelve years ago-after all, there was no other choice then-but because I dreamed of paintings whose style transgressed the precepts of the masters of Herat. Furthermore, because I raved about this nonsense with such conviction, I imagined my death at his hands.

I was not, however, afraid of him; on the contrary, I tried to frighten him. For I believed that fear was appropriate to the writing I’d requested of him. “As in those pictures,” I said, “one ought to be able to situate oneself at the center of the world. One of my illustrators brilliantly depicted Death for me. Behold.”

Thus I began to show him the paintings I’d secretly commissioned from the master miniaturists over the last year. At first, he was a tad shy, even frightened. When he understood that the depiction of Death was inspired by familiar scenes that could be found in many Book of Kings volumes-from the scene of Afrasiyab’s decapitation of Siyavush, for example, or Rüstem’s murder of Suhrab without realizing this was his son-he quickly became interested in the subject. Among the pictures that depicted the funeral of the late Sultan Süleyman was one I’d made with bold but sad colors, combining a compositional sensibility inspired by the Franks with my own attempt at shading-which I’d added later. I pointed out the diabolic depth evoked by the interplay of cloud and horizon. I reminded him that Death was unique, just like the portraits of infidels I had seen hanging in Venetian palazzos; all of them desperately yearned to be rendered distinctly. “They want to be so distinct and different, and they want this with such passion that,” I said, “look, look into the eyes of Death. See how men do not fear Death, but rather the violence implicit in the desire to be one-of-a-kind, unique and exceptional. Look at this illustration and write an account of it. Give voice to Death. Here’s paper and pen. I shall give what you write to the calligrapher straightaway.”

He stared at the picture in silence. “Who painted this?” he asked later.

“Butterfly. He’s the most talented of the lot. Master Osman had been in love with and awed by him for years.”

“I’ve seen rougher versions of this depiction of a dog at the coffeehouse where the storyteller performs,” Black said.

“My illustrators, most of whom are spiritually bound to Master Osman and the workshop, take a dim view of the labors performed for my book. When they leave here at night I imagine they have their vulgar fun over these illustrations which they draw for money and ridicule me at the coffeehouse. And who among them will ever forget the time Our Sultan had the young Venetian artist, whom He’d invited from the embassy at my behest, paint His portrait. Thereafter, He had Master Osman make a copy of that oil painting. Forced to imitate the Venetian painter, Master Osman held me responsible for this unseemly coercion and the shameful portrait that came of it. He was justified.”

All day long, I showed him every picture-except the final illustration that I cannot, for whatever reason, finish. I prodded him to write. I discussed the temperaments of the miniaturists, and I enumerated the sums of money I meted out to them. We discussed “perspective” and whether the diminutive objects in the background of Venetian pictures were sacrilegious, and equally, we talked about the possibility that unfortunate Elegant Effendi had been murdered for excessive ambition and out of jealousy over his wealth.