present: the script is written in the Maghrebi style in black ink, but the diacritics (vowels and other orthographic signs) are in red or blue, simple gold and black roundels mark the end of verses, and headings are written in gold Kufic inside a decorated frame and background. It also contains a frontispiece, of relatively simple design, consisting of a grid of lozenges variously filled with gold vegetal motifs, gold netting, or gold Kufic inscriptions on red or blue backgrounds. More sophisticated illumination is already evident in a copy of a sahih dated to 1120 (during the reign of Ali ibn Yusuf), also produced in either the Maghreb or Al-Andalus, with a rich frontispiece centered around a large medallion formed by an interlacing geometric motif, filled with gold backgrounds and vegetal motifs. A similarly sophisticated Quran, dated to 1143 (at the end of Ali ibn Yusuf's reign) and produced in Córdoba, contains a frontispiece with an interlacing geometric motif forming a panel filled with gold and a knotted blue roundel at the middle. Ceramics The Almoravid conquest of al-Andalus caused a temporary rupture in ceramic production, but it returned in the 12th century. There is a collection of about 2,000 Maghrebi-Andalusi ceramic basins or bowls () in Pisa, where they were used to decorated churches from the early 11th to fifteenth centuries. There were a number of varieties of ceramics under the Almoravids, including cuerda seca pieces. The most luxurious form was iridescent lustreware, made by applying a metallic glaze to the pieces before a second firing. This technique came from Iraq and flourished in Fatimid Egypt. Minbars The Almoravid minbars — such as the minbar of the Grand Mosque of Marrakesh commissioned by Sultan Ali ibn Yusuf (1137), or the minbar for the University of al-Qarawiyyin (1144) — expressed the Almoravids' Maliki legitimacy, their "inheritance of the Umayyad imperial role", and the extension of that imperial power into the Maghreb. Both minbars are exceptional works of marquetry and woodcarving, decorated with geometric compositions, inlaid materials, and arabesque reliefs. Architecture The Almoravid period, along with the subsequent Almohad period, is considered one of the most formative stages of Moroccan and Moorish architecture, establishing many of the forms and motifs of this style that were refined in subsequent centuries. Manuel Casamar Perez remarks that the Almoravids scaled back the Andalusi trend towards heavier and more elaborate decoration which had developed since