My notes do not cover the whole ground, by any means, but I think they touch upon the best examples of the unglazed work, of which, however, the quantity in no degree equaled that of the glazed pottery or faience; and, indeed, it could not, because for most of the uses of life it is valueless. The glazed pots are of course much stronger, and, for household uses, have almost entirely supplanted the other. Unglazed pots and pans are still in common domestic use, but they have a glaze on the _inside_ which renders them capable of holding liquids. Unglazed vessels are much used along the shores of the Mediterranean for the purpose of cooling water, the percolation and evaporation from the surface bringing the water to a delicious coolness, which is grateful to the parched palate; indeed, it is much more wholesome than the intense coldness created by the use of ice. Many a dyspeptic stomach with us would gladden if refreshed with the crisp water produced by the Spanish or Egyptian coolers, which are now made feverish with the icy American draughts poured into them. In Paris are still made many small figures in unglazed clay, some of which are full of artistic effects; they are sketches in clay, and are valuable when they are such. A great many are made at some of the potteries in England, which are useless as works of art, and are useful only as cheap decorations. Some of them are well moulded, and are pleasing. I noticed none of these at the Exhibition, though it is likely they were represented there. A very fine example of this sort of unglazed figure-work was to be seen in a case in the Japanese collection sent by Kiriu Kosko Kuwaisha. It was a much higher class of work than the Peruvian, of which an illustration is given at page 19, and in its way could hardly be excelled. The figure was about twelve inches high, and seemed to be an intense embodiment of Japanese jollity; its half-shut eyes, lolling tongue, and relaxed figure, told the story perfectly. My Japanese guide, philosopher, and friend, did not consider it in any way a god, though it was so like the Chinese Poutai, god of content, that one wondered. If it indeed had been a domestic god, our keen Japanese gentleman would not have been likely to urge that view to us, who have less regard for other people's gods even than for our own. Not far from the Japanese exhibit was to be seen in the Spanish collection a pyramid of unglazed pottery, nearly or quite all of a light-buff color. It had this value, that it was such as is in use to-day in the houses of the common people; and that is about all we can say for it. The whole of it has been bought for the Pennsylvania School of Art. Why they should want a hundred pieces of this work one may well be at a loss to know, unless it is true that to own what nobody else has is always a pleasure.