ne　by　recourse　to　one　of

the old Herat models。 With his keen eye； he knew how to harmonize what

he’d learned from the old forms and Shah Tahmasp’s old masters in new

pictures。　Herat　painting　and　Istanbul　ornamentation　happily　merged　in　Olive。

As with all of my miniaturists； I once paid an unannounced visit to his

home。　Unlike　my　work　area　and　that　of　many　other　master　miniaturists；　his

was a filthy confusion of paints； brushes； burnishing shells； his folding

worktable and other objects。 It was a mystery to me； but he wasn’t even

embarrassed by it。 He took no outside jobs to earn a few extra silver coins。

After I related these facts； Black said it was Olive who showed the most

enthusiasm for and the most ease with the styles of the Frankish masters

admired　by　his　late　Enishte。　I　understood　this　to　be　praise　from　the　deceased

fool’s point of view； mistaken though it was。 I can’t say whether Olive was

more　deeply　and　secretly　bound　to　the　Herat　styles—which　went　back　to　his

father’s　mentor　Siyavush　and　Siyavush’s　mentor　Muzaffer；　back　to　the　era　of

Bihzad　and　the　old　masters—than　he　appeared　to　be；　but　it　always　made　me

wonder　whether　Olive　harbored　other　hidden　tendencies。　Of　my　miniaturists

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（I told myself spontaneously）； he was the