This work is of particular interest for Turkish art historians, not only because it deals with the history of book-painting in neighbouring Persia to which historical and cultural ties link Turkey, but also because the area covered by Mr Gray includes a milieu in which Turkish art developed. For this reason, while reviewing this new contribution to the history of Islamic art, I will take the liberty to add a few considerations from a Turkish point of view. In attempting to outline the history of Persian book-painting, the author is faced with an initial difficulty: to our present knowledge, there is no pictorial evidence of the existence of an ancient tradition of book-painting in Persia and there are only scant remains of wall paintings.