Of the more ancient forms of pottery, specimens exist which are upward of two thousand years old. The clay varies from red to a gray color, and the ornamentation, when used, is simple and chaste. A funeral urn of this class has a round body without decoration, short, thick neck, projecting lip, and is accompanied by a lid. Another, of the same red clay, instead of the rounded base of the former, has a wide, flat bottom. A band is drawn round the widest part of the body, from which it curves rapidly inward to the neck, and on this upper part, between the greatest circumference and the neck, a simple ornament is laid. Although rather clumsy in appearance, this urn does not lack a certain primitive symmetry. Like the other ancient nations of which we have already treated, India was intimately acquainted with the processes of enamelling and glazing, and, better than that, brought a cultivated taste to bear upon their employment in both architecture and the decoration of pottery. Glazed bricks, of many colors, were used with great effect in the building of temples and other edifices. They are of much harder and finer material than the bricks of either Egypt or Babylonia. The application of colors and glaze to terra-cotta was productive of the most astonishing and beautiful effects. The specimens preserved of a monumental character substantiate the right of the Indian potters to a very high rank. Not only is the coloring of their terra-cotta friezes brilliant, but the floral and animal forms, introduced either for their symbolical significance or by way of ornament, are masterpieces of art. Arranging these products chronologically, the wares belonging to the second or third century before our era will take precedence. The buildings in which glazed bricks were used bring us down to from five hundred to upward of a thousand years later. After them come the specimens of glazed terra-cotta. Subsequently a kind of faience was made which has been very generally ascribed to Persia, but which may, from the internal evidence supplied by a comparison with purely Indian work, be safely attributed to India. Lastly, there is the faience of the present time, so intimately allied with the more ancient in both ornamentation and the prevailing shapes, as to be confidently pronounced its legitimate successor. Flowers and ornaments, incised or in relief, and grounds of blue, green, or yellow, are designed and mingled in the most artistic and effective manner.