It is not known at what time the large pilgrim’s bottle in the Domschatz of St. Stephan at Vienna was brought from the Holy Land (Schmoranz, Plate iv.). Much of the surface is left undecorated, and the glass is whitened by the chalky earth with which it is still filled. This earth is reputed to have come from Bethlehem, and to be stained with the blood of the Holy Innocents. The main design of musicians, seated beneath a conventional tree beside a stream (represented by a blue meander), calls to mind the decoration of one of the Dresden beakers. Near in style to this flask is the quaintly shaped pilgrim’s bottle in the British Museum, that was long in the possession of a noble family at Würzburg. I have already spoken of the superlative quality of the enamel on this remarkable example of Saracenic glass. In the cathedral at Vienna is another enamelled vase (Schmoranz, Plate xiii.). This graceful amphora-shaped vessel follows exactly on the lines of the water jars of earthenware still in use on the coasts of the Mediterranean. The blood-stained earth that it once contained is gone, but the seal of attestation remains—strong evidence that the bottle was purchased at Bethlehem by the German pilgrim who brought it home. The blue is of a poor greyish tint, and the enamels on the whole low in tone, but the interlaced geometrical design is not the less decorative. The little jug (Schmoranz, Pl. xxx.) now in the hands of one of the Rothschild family in Paris, was purchased at the Hamilton sale for £2730; in the catalogue it was described as a specimen of Venetian glass! The enamels are brilliant and well preserved—polo-players, mounted on horses of various colours, surround the body. A curious feature is a collar of wood round the base of the neck, kept in place by a series of claw-shaped projections. The larger bottles with tall necks form a class by themselves; they are often remarkable for the delicacy of the decoration. On the neck of a tall and richly enamelled example in the museum at Vienna (Schmoranz, Pls. vi. and vii.) we find a distinctly Chinese motive:—in addition to the well-known phœnix may be seen a curious development of the cloud pattern, in the shape of four many-coloured bars. There is a fine example of these long-necked bottles at South Kensington and another in the British Museum. The first is remarkable in combining on the same piece motives from many sources—the Chinese phœnix, the so-called Egyptian hieroglyph, together with birds and animals in many styles (Plate XXIII.). The bowls and dishes form a more miscellaneous group. These we may regard as essentially ‘table ware.’ In Persian manuscripts—in the illustrations to Hariri’s tales, for instance—we see such vessels piled up with fruits and cakes.