Through the kindness of Mr. Forrest, ex-Director of Records at the India Office, I have been enabled to examine a collection of small glass vessels obtained by him in the Kaira district of Guzerat. Among them I noticed some graceful little cruet-shaped ewers of a pale pinkish glass—the colour apparently obtained from gold—and also some glass lamps of rounded conical form similar to those used in Cairo. Footnote 271: My chief authorities for the early history of Chinese glass are the works of Dr. Hirth, especially a paper on the subject in his _Chinesische Studien_, and some casual remarks in Dr. Bushell’s _Oriental Ceramic Art_. [I have at the last moment been able to add a few notes to what I have written, based on the chapter on glass in Dr. Bushell’s _Chinese Art_. June 1906.] Footnote 272: Thus we have the statements of the missionaries Ricci and Du Halde, in the sixteenth and seventeenth centuries respectively, that the Chinese made glass. As far back as the twelfth century, the Arab writer Edrisi speaks of glass-workers in the Chinese town of Djan-ku, wherever that may be. Footnote 273: Dr. Bushell, however, thinks that there is evidence that in the fifth century glass of Indo-Scythian origin reached Northern China by way of the great trade route through Chinese Turkestan. About the same time it was brought from the West, by the sea route, to the southern capital (the modern Nanking). The manufacture was at that time established in both North and South China, and ‘has been carried on with indifferent success ever since’ (_Chinese Art_, vol. ii. pp. 60-61). Footnote 274: The very absence of native enamelled glass might indeed be used as an argument against the otherwise plausible theory that it was from the Saracenic glass that the Chinese first learned how to enamel their porcelain with fusible colours over the glaze. See on this point my book on Porcelain in this series, p. 87. Dr. Bushell mentions ‘the recent discovery in mosques of the western provinces of China of a number of hanging lamps of characteristic shape, enamelled in colours,’ with Arabic motives and script. Some of these have been taken to America. _Chinese Art_, vol. ii. p. 69. Footnote 275: Hu succeeded in splitting up the character with which his simple name was written into the two ideographs Ku and Yueh, and thereupon adopted the more imposing title ‘Chamber of the Ancient Moon.’ Footnote 276: This collection is described in the _Zeitschrift für Bildende Kunst_, vol. xx., in an article on Chinese glass by Herr A. Bapst. Footnote 277: Dr. Bushell hints that such inscriptions may in cases have been added by modern curio-dealers in Pekin, as a bait to European collectors. Footnote 278: As arranged now at South Kensington, the carved glass may be compared with the companion series in agate and other stones. Footnote 279: