horrible excrescences disappeared and light and beauty reigned once more. [Illustration: THE POTTER.] [Illustration: THE MYO-ÔK-GADAW.] An extraordinarily effective art is the lacquer-work of Pagan. Bowls of exquisite shape, boxes for sacred books or for carrying the necessary betel, offer choice specimens of the artist’s skill. The designs in rich colouring on these lovely works are full of vigour and originality. Lacquering is a laborious art. A really fine box or bowl takes months to complete. The most elaborate work is based on a foundation of horsehair, the finished product so flexible and supple that a bowl can be bent till the opposite sides meet without the fabric cracking. I confess that, as regards my own treasured specimens, I am content to know that this can be done without putting them to the test. Even at Pagan the hateful modern spirit has begun to shed baleful influence. Mingled with bowls and boxes, consecrated by use and wont, may be seen cigar cases of Western shapes and other signs of decadence. Burmese silver-work and wood-carving are world-renowned. These fine arts are still flourishing. Besides fashioning portable articles, such as figures of men and elephants, or ornamented boxes, wood-carvers show their skill and taste in elaborate designs on monasteries and other public buildings. Some of the carving on monasteries in Mandalay, the Queen’s Monastery in A Road, and others of earlier date, is of the highest æsthetic merit. The specimens of wood-carving in the Palace have never appealed to me so intensely. In the presentation of figures the execution is bold and dignified. Wood-carving seems to me to have preserved its native simplicity, to have been less affected than other arts by devastating Western contact. Silver-workers still produce fabrics of grace and beauty in the best indigenous fashion; but too often degenerate teapots and decadent toilet-sets give evidence of debasing utilitarian propaganda. I grieve to hear that electric light has been installed on the Great Pagoda in Rangoon as well as in the temple of the Yakaing Paya.[43] Much have we done for Burma. But it is sad to think that we have sullied and smirched the tender bloom of Burmese art and artistic ideals.