There remain, however, to be mentioned one or two mosque lamps which depart from the normal type. In the lamp (now at South Kensington), apparently of green jade-like glass, which was brought with so many others from Cairo by the late Captain Myers, the effect is obtained by a wash of green translucent enamel over the whole of the _inner_ surface. The outside is covered with an effective but somewhat summary decoration in gold and red lines, without further enamelling. The Sultan named in the laudatory inscription may be either Sultan Hassan or his father Nasir. Another exceptional lamp now in the museum at Cairo is well illustrated in Schmoranz’s great work (Pl. xi.). This is a smallish lamp of green cloudy glass; the whole of the body and neck, except a plain band at the top, is worked into shallow, wavy ribs. It bears no enamel, but on the surface there are traces of the gilding that formerly covered it: this lamp came from a mosque built in 1363. At South Kensington are two small lamps of colourless glass of somewhat abnormal form without decoration of any kind. I must finally mention the charming little lamp from the Myers collection (now at South Kensington) which, it is stated, was found in a Christian monastery in Syria (Plate XXXIV. 1). The thin clear glass, with pearly patina, the graceful, vase-like form, and, above all, the sparingly applied but quite exceptional decoration, in which the human figure finds a place, distinguish this lamp from the ordinary Cairene type. In this case the treatment of the figures, which, as I have said, are never found on true mosque lamps, closely resembles that on the inlaid metal-ware made at Mosul in the thirteenth century.[124] And this carries us back to the question of the origin of this enamelled glass, and we are brought face to face with quite a number of interesting problems which can only be indicated here. That the application of enamels to glass by the Saracens was prior to the use of similar materials on porcelain by the Chinese, I have already mentioned. It is, indeed, not impossible that this method of decoration may have been suggested to the Chinese potters by specimens of the Saracenic glass which, as we now know, found their way to China at an early date. The use of enamels of very similar constitution on metals had, however, been known in certain parts of Europe since the first century of our era if not earlier, and the cloisonné enamels of the Byzantines had long been famous. In this connection, too, we must not forget the _vitrum plumbeum_ with which the Syrian Jews manufactured artificial gems. It is to materials of this kind, true lead-fluxed enamels, that we must look for the origin of the decoration on Saracenic glass, rather than to the paint-like colours occasionally used by the Romans and Byzantines.