id；　the　partially　veiled　face　of　Our　Exalted　Prophet；

or　even；　God　forbid　again；　the　face　of　the　Devil。　Each　miniaturist；　in　each　case；

always　drew　the　ears　the　same　way；　as　if　this　were　a　secret　signature。”

“Why？”

“When the masters illustrated a face； they focused on approaching its

exalted　beauty；　on　the　dictates　of　the　old　models　of　form；　on　the　expression；　or

on　whether　it　should　resemble　somebody　real。　But　when　it　came　time　to　make

the　ears；　they　neither　stole　from　others；　imitated　a　model　nor　studied　a　real

ear。　For　the　ears；　they　didn’t　think；　didn’t　aspire　to　anything；　didn’t　even　stop

to consider what they were doing。 They simply guided their brushes from

memory。”

“But　didn’t　the　great　masters　also　create　their　masterpieces　from　memory

without　ever　even　looking　at　real　horses；　trees　or　people？”　said　Black。

“True；” I said； “but those are memories acquired after years of thought；

contemplation and reflection。 Having seen plenty of horses； illustrated and

actual；　over　their　lifetimes；　they　know　that　the　last　flesh…and…blood　horse　they

see　before　them　will　only　mar　the　perfect　horse　they　hold　in　their　thoughts。

The horse that a master miniaturist has drawn tens of thousands of times

eventually es close to God’s vision of a horse； and the artist knows this

through　experience　and　deep　in　his　soul。　The　horse　that　his　hand　draws　quickly

from memory is rendered with talent； great effort； and insight； and it is a

horse　that　approaches　Allah’s　horse。　However；　the　ear　that　is　drawn　before　the

hand has accumulated any knowledge； before the