No more faithful portrait is contained in the book than that of the king, Fath Ali Shah, the second of the Kajar Dynasty, and the great-grandfather of the reigning Shah. His vanity and ostentation, his passion for money and for women, his love of flattery, his discreet deference, to the priesthood (illustrated by his annual pilgrimage, in the garb of penance, to the shrine of Fatima at Kum), his royal state, his jewels, and his ambrosial beard, form the background of every contemporary work, and are vividly reproduced in these pages. The royal processions, whether in semi-state when he visited the house of a subject, or in full state when he went abroad from the capital, and the annual departure of the royal household for the summer camp at Sultanieh, are drawn from the life. Under the present Shah they have been shorn of a good deal of their former splendour. The Grand Vizier of the narrative, ‘that notorious minister, decrepit in person, and nefarious in conduct,’ ‘a little old man, famous for a hard and unyielding nature,’ was Mirza Sheffi who was appointed by Fath Ali Shah to succeed if Ibrahim, the minister to whom his uncle had owed his throne, and whom the nephew repaid by putting to death. The Amin-ed-Dowleh, or Lord High Treasurer, ‘a large, coarse man, and the son of a greengrocer of Ispahan,’ was Mohammed Hussein Khan, the second personage of Court. Only a slight verbal change is needed to transform Hajji Baba’s master, Mirza Ahmak, the king’s chief physician into Mirza Ahmed, the _Hakîm Bashi_ of Fath Ali Shah. Namerd Khan, the chief executioner, and subsequent chief of the hero, whose swaggering cowardice is so vividly depicted, was, in actual life, Feraj Ullah Khan. The commander of the King’s Camel Corps, who had to give up his house to the British _Elchi_, was Mohammed Khan. The Poet Laureate of the story, Asker Khan, shared the name of his sovereign, Fath Ali Khan; and the story of his mouth being filled on one occasion with gold coins, and stuffed on another with sugar-candy, as a mark of the royal approbation, is true. The serdar of Erivan, ‘an abandoned sensualist, but liberal and enterprising,’ was one Hassan Khan; and the romantic tale of the Armenians, Yûsûf and Mariam, down to the minutest details, such as the throwing of a hand-grenade into one of the subterranean dwellings of the Armenians, and the escape of the girl by leaping from a window of the serdar’s palace at Erivan, is a reproduction of incidents that actually occurred in the Russo-Persian war of that date. Finally, Mirza Firouz Khan, the Persian envoy to Great Britain, and the hero of “Hajji Baba in England”, is a portrait of Mirza Abul Hassan Khan, a nephew of the former Grand Vizier, who visited London as the Shah’s representative in 1809-10, and who was subsequently sent on a similar mission to Petersburg. This individual made a considerable sensation in England by his excellent manners and witty retorts, among which one is worthy of being quoted that does not appear in Morier’s pages. When asked by a lady in London whether they did not worship the sun in Persia, he replied, ‘Oh yes, madam, and so would you in England too, if you ever saw him!’