Black wonders whether Enishte knows of his letters to Shekure, but when he visits his uncle, their conversation turns to Venetian art. Enishte describes the paintings he encountered in Europe, noting that throughout Venice, the wealthy commission individualized portraits to showcase their power. Enishte is both horrified and enthralled by the idea of these paintings. The Sultan’s book, likewise, will feature more distinctive portraits and Frankish methods, even though Enishte stresses that the story is the most essential aspect of the manuscript. Despite his interest in Western art styles, Enishte fears creating a sacrilegious work, as many Muslims consider portraiture a type of idolatry. The Sultan, however, wants his portrait publicly displayed and desires a book that will “become a symbol of the vanquishing power of the Islamic Caliph Our Exalted Sultan” (110).

By discussing the book with Black, Enishte hopes to enlist his nephew’s help in its composition. He tells Black that most of the illustrations for the book are complete, including a depiction of Death, as well as pictures of a dog, a tree, and a coin. Enishte also considers the potential marriage of Black and