written by scribes who had been trained in taʿlīq". Shekasteh nastaliq (usually shortened to simply skehasteh), being more easily legible than taliq gradually replaced the latter as the script of decrees and documents. Later it also came into use for writing prose and poetry. The first important calligraphers of shekasteh were Mohammad Shafiʿ Heravi (d. 1670–71) (he was known as Shafiʿa and hence shekasteh was sometimes called shafiʿa or shifiʿa) and Mortazaqoli Khan Shamlu (d. 1688–89). Both of them produced works of real artistic quality, which doesn't change the fact that in this early phase shekasteh still lacked consistency (it is especially visible in writing of Mortazaqoli Khan Shamlu). Most modern scholars consider that shekasteh reached its peak of artistic perfection under Abdol Majid Taleqani (d. 1771), "who gave the script its distinctive and definite form". The tradition of Taleqani was later followed by Mirza Kuchek Esfahani (d. 1813), Gholam Reza Esfahani (d. 1886–87) and Ali Akbar Golestaneh (d. 1901). The added frills made shekasteh increasingly difficult to read and it remained the script of documents and decrees, "while nastaʿliq retained its pre-eminence as the main calligraphic style". The need for simplification of shekasteh resulted in development of secretarial style (shekasteh-ye tahriri) by writers like Adib-al-Mamalek Farahani (d. 1917) and Nezam Garrusi (d. 1900). The secretarial style is a simplified form of shekasteh which is faster to write and read, but less artistic. Long used in governmental and other institutions in Iran shekasteh degenerated in the first half of the 20th century, but later again engaged the attention of calligraphers. Shekasteh was used only in Iran and to a small extent in Afghanistan and Ottoman Empire. Its use in Afghanistan was different from the Persian norm and sometimes only as experimental devices (tafannon) Nastaliq typesetting Typography first started with attempts to develop a metallic type for the script, but all such efforts failed. Fort William College developed a Type, which was not close enough to and hence was never used other than by the college library to publish its own books. The State of Hyderabad Dakan (now in India) also attempted to develop a Typewriter but this attempt failed miserably and the file was closed with the phrase “Preparation of on commercial basis is impossible”. Basically, in order to develop such a metal type, thousands of pieces would be required. Modern typography began with the invention of Noori Nastaleeq which