Very few early representations of tentage survive. In the copy of Rashîd al-Dîn’s Djâmi’ al-Tawârîkh at the Bibliothèque Nationale, which was probably illustrated at Herat in about 1430, there is a particularly fine series of paintings showing tents. They depict the lives of Çiñgiz Qan and his successors.1 Although the paintings are Timurid, and reflect the style and ornamental preferences of the time, comparison with other manuscripts of the same work2 suggests that, in composition and to a limited extent in detail, they may be based on book paintings originally prepared at the studios of the Rashîdîya in about 1310, which seem in this case not to have survived.