kept at the Islamic Museum of the Haram al-Sharif. While in Bijaya (Bougie) he began a fifth copy intended for Al-Khalil (Hebron), but he was unable to finish it following his military defeats in the east and subsequent dethronement. It was instead finished by his son Abu Faris Abd al-Aziz and eventually brought to Tunis by Ibn Marzuq. Abu al-Hasan's son and immediate successor, Abu Inan, for his part, is known to have copied a collection of hadiths with letters written in a mix of blue and brown ink, with gold flourishes. Aside from Qur'an manuscripts, many other religious and legal texts were copied by calligraphers of this time, especially works related to the Maliki school such as the Muwatta' by Malik ibn Anas. They range from volumes written in plain Maghrebi script to richly-illuminated manuscripts produced by the Marinid royal libraries. Preserved in various historic Moroccan libraries today, these manuscripts also show that, in addition to the capital of Fes, important workshops for production were also located in Salé and Marrakesh. Minbars The minbars (pulpits) of the Marinid era were also following in the same tradition as earlier Almoravid and Almohad wooden minbars. The minbar of the Great Mosque of Taza dates to the mosque's expansion by Abu Yaqub Yusuf in the 1290s, much like the mosque's chandelier. Like other minbars, it takes the shape of a mobile staircase with an archway at the bottom of the stairs and a canopy at the top and it is composed of many pieces of wood assembled together. In spite of later restorations which modified its character, it still preserves much of its original Marinid woodwork. Its two flanks are covered with an example of the elaborate geometric decoration found in the artisan tradition dating back to the 12th-century Almoravid minbar of the Kutubiyya Mosque (in Marrakesh). This geometric motif is based on eight-pointed stars from which interlacing bands spread outward and repeat the motif across the whole surface. Contrary to the famous Almoravid minbar in Marrakesh, however, the empty spaces between the bands are not occupied by a mix of pieces with carved floral reliefs but are rather occupied entirely by pieces of marquetry mosaic decoration inlaid with ivory and precious woods. The original minbar of the Bou Inania Madrasa, which is housed today at the Dar Batha museum, dates from 1350 to 1355 when the madrasa was being built. It