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Published online by Cambridge University Press: 15 November 2011
The bowl I have the honour to lay before, the Society was sent to me by an Indian correspondent, and I made up my mind at once that it should be secured for the British Museum. On my showing it to my friend Mr. Max Bonn, he was kind enough to offer to present it, and at this moment it is in process of being laid before the Trustees as a gift, through the intermediation of the National Art Collections Fund (pl. XXXV).
page 251 note 1 This is the opinion of a practical silversmith, Mr. Southwick of the firm of Tiffany & Co., to whom I chanced to show it; but I myself feel by no means sure that it has not been made by hammering. Certain dendritic cracks support this theory.
page 252 note 1 Oriental Silver: Atlas of ancient silver and gold vessels of oriental origin principally found in the Russian Empire. St. Petersburg, 1909Google Scholar . Published by the Imperial Archaeological Commission. (Text in Russian.)
page 252 note 2 This garment appears to be identical with that worn by Khusrū Parviz in the Ajanta painting described and figured by Smith, V. A., A History of Fine Art in India, p. 291 (see pl. xxxviii, fig. 2)Google Scholar.
page 253 note 1 For a discussion of the purpose and construction of these curious objects, see Dalton, , Treasure of the Oxus, p. 122Google Scholar . Cf. also figure of prince in pl. xxxviii, fig. 2.
page 254 note 1 Composite bows are commonly found in Sassanian hunting scenes: see Smirnoff, passim. For the distribution and construction of the weapon see Balfour, Henry in Journ. Anthrop. Inst, xix (1890), p. 220Google Scholar.
page 254 note 2 This arrangement of lions or other animals, rearing up and forming a kind of St. Andrew's cross, is a characteristic feature of Sassanian hunting scenes; e. g. silver ewer in the Bibliotheque Nationale, Smirnoff, no. 85, pl. li.
page 255 note 1 Dalton, , Treasure of the Oxus, pl. xxvii.Google Scholar
page 255 note 2 Smith, V. A., A History of Fine Art in India and Ceylon, p. 275.Google Scholar
page 255 note 3 Griffiths, J., The Paintings in the Buddhist Cave Temples of Ajanta, 1896, ii. pl. 104. 8 d; 107. 7 a, 7 e; 121, etc.Google Scholar