The shallow plate belonging to Lord Rothschild is perhaps the oldest example of this class in our collections. The medallions, skilfully filled with groups of lions attacking deer and with other similar subjects, are distinctly Byzantine, or some would say Sassanian, in character. An interest of another kind may be found in a pair of dishes, one bowl-shaped, the other in the form of a tazza mounted on a tall foot, which have long stood side by side in the Cluny Museum at Paris. These are undoubtedly specimens of enamelled Saracenic glass, both probably dating from the fourteenth century, the bowl, however, somewhat earlier than the tazza. This latter vessel is decorated with a gold arabesque combined with the thick translucent blue enamel and the red lines so characteristic of Saracenic glass. A label, however, still proclaims this tazza to be ‘Style Arabo-Venitien, XV^{me} siècle.’ On the other hand, no less an authority than Labarte (_Histoire des Arts Industriels_, iv. p. 546), it is true as long ago as 1864, found in this tazza an example of one of the processes of enamelling described by Theophilus, and on this ground deliberately declared it to be a Byzantine work. On the basis of a vague inscription found on the companion piece—the deep bowl—a whole theory of the Egyptian or Byzantine-Egyptian origin of this enamelled glass has been built up by a German writer (Carl Friedrich, _Die Alt-Deutschen Gläser_). There is in the British Museum a large deep bowl with a gigantic cufic inscription in blue, overlaid with scrolls of white enamel. The coarsely executed but effective decoration calls to mind that on some of the Cairene mosque lamps. This bowl is known to have come from Damietta, and it may perhaps supply an argument for those who find the origin of some of the enamelled glass in the neighbouring town of Mansourah, where glass-works are known to have existed (Lane-Poole, _Arab Art_, p. 209). We have finally a class of high-footed bowls with lids; of these, unfortunately, no undamaged example is known; the nearest approach is perhaps the bowl with a perfect lid but defective foot in the British Museum. The decoration in this case is of great interest. The medallions in the field, with fleurs-de-lis, Chinese phœnixes, and quaint monster-sphinxes and griffins, should be especially noted. MOSQUE LAMPS I now come to the Mosque Lamps, and here a more numerous family has to be dealt with. In those instances where the lamps can be traced back to well-known buildings in Cairo, or again when they bear the names of Memlook sultans or of great officers of their court, a date can generally be assigned without much hesitation.