A single folio volume (238 x 385 mm) 360 pp. - 3 pp are missing including the folio bearing the colophon of Layla and Majnun and the 'unwan and first page of Khusrow and Shirin, and the first two leaves of Haft Peykar. 7pp have been replaced, but replacements are not full-length replacements of the missing text, but instead comprise shorter verses. Black nasta'liq script in four columns ruled in red, blue and gold, titles in red. With 31 later miniatures. Repaired throughout. Several miniatures chipped and re-backed, a few soiled, some margins replaced. In 19th century blind-stamped leather, with modern spine and re-backing. Text comprises all five of his best-known narrative poems, Nizami's Khamsa is a masterpiece of Persian literature and was a popular collection in the courts of both the Mughals and the Safavids. Traditionally the Khamsa begins with Nizami's work on religious philosophy, Makhzan o-Asrar, a narrative poem steeped in Islamic mysticism. In this manuscript, Makhzan o-Asraris split into two parts which the scribe uses to bookend the text. Sandwiched between part one and part two of Makhzan o-Asrar are Nizami's four famous romances; Layla and Majnun, Khusrow and Shirin, Haft Peykar, and the Islandar-namah, each illustrated with miniatures. The greatest work of Nizami Ganjavi; an illuminated large format manuscript of the Khamsa, illustrated with 31miniatures decorated with gold, including rare scenes of the Prophet's Night Journey. For example; in Layla and Majnun, the artist has painted Majnun alone in the desert with the animals. Khusrow and Shirin, meanwhile opens with the famous scene of Khusrow happening upon Shirin while she bathes in a pool, and includes scenes with Farhad, also vying for her affections, carrying her and her horse upon his shoulders. The Iskandar-namah, Nizami's contribution to popular Persian Alexander romance, is illustrated with battle scenes. Finally, the text ends with the second half of Makhzan o-Asrar and two miniatures showing the Prophet's journey to heaven on the back of Buraq, the human-headed horse. To avoid depicting the Prophet, only Buraq and the angel Girbil are shown travelling in the invisible presence of the Prophet across a star-strewn night sky.