A few special particulars respecting some of the Principal Courts.

To present a catalogue of the Exhibits of each Court would be tempting those who can visit the Courts but once, to waste their time and spoil their pleasure.

The particulars now given either refer to specialities or to exhibits illustrative of principles stated on pages 11 to 14.

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If in walking through the Courts the eye rests on the exhibits mentioned, well and good; if not, do not worry to find them.

Rajputana Courts, on each side as the Art Ware Courts are entered—Notice the Kotah Screen inlaid with ivory—The Bhartpur Screen of Jalli work, resembling frozen lace—The Bikanir "gesso" Screen, the patterns of which have been produced by applying layer after layer of liquid clay with a brush. Jeypore furnishes the chief supply of idols in Brahminical India.

Kotah Dyed Cloths.—These cloths are first dyed, then small portions of the cloth, about the size of a threepenny-piece, are tied up with cotton thread, the cloth is again dipped, but the colour does not touch the portions tied up; the process is repeated, and intricate patterns are then produced, in three colours. This knot-dyeing process is called "bandhna," and gave its name to the old bandanna handkerchief.

Central India—Collections not extensive nor of special interest.

Bombay.—Bahavangar portion of Screen, the richest and most beautiful in the Courts. Good specimens of "Kincob," a gold and silver brocade made at Surat, used for covering state carriages, saddlecloths, marriage dresses of bridegrooms. A beautiful panel of hammered copper, and window of perforated brass—Baroda pigeonhouse—Baroda doorway with iron bosses—Collection of turbans requiring 40 to 75 yards for a single turban.

The people of Baroda and Gujarat consider it a sin to kill animals, but to feed them an act of charity.

Bosses on doorways were originally placed on doors to prevent damage from the knock given by the head of a visitor's elephant. That which was designed for protection is retained as an ornament.

Bengal Court.—Jewellery—Silver filigrain work—Bidri work—Ivory carving of Murshidabad in Case 43—Gold Embroidery—Chikan, or embroidered muslin.

The silver filigrain work of Cuttach is generally done by boys, whose sensitive fingers and keener sight enable them to put the fine silver threads together with rapidity.

Nepal.—Nepal is an independent State, extending 700 miles along the southern face of the Himalayas. The small court gives specimens of native arts and industries—Carving—Brass Work—Musical Instruments.

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North-West Provinces.—Inlaid work on pillars of screen similar to that on the Taj—Moradabad ware in case 62—Agra soapstone carvings in case 61—Bidri ware—Brass work illustrated by models of temples and mosques—Muslins—Embroidery.

Moradabad Ware.—In this ware, the tin is soldered on the brass and then cut through to the brass, which makes the yellow outline to the pattern.

The Taj is a tomb built by Shah Jehan for himself and his favourite wife, whose pet name was Taj. In a beautiful garden, on a double platform, the first of red sandstone, 20 feet high and 1000 feet broad; the second, of marble, 15 feet high, and 300 feet square, stands the Taj, a colossal casket, whose base is 186 feet, whose height is 200 feet, and whose cost was above 2,000,000 sterling. Bishop Heber remarked of the Taj, "The Saracens built like Titans and finished like jewellers."

The Punjab Court.—No figure carving, since the inhabitants are principally Mahommedans—Jewellery—Koft work—Lac turnery—Pottery—Woollen fabrics, for there are severe winters of the Hill Country—Delhi embroidery—Dress of a Delhi dancing girl—Carpets of state—Amritsar door in beaten copper.

Lac Turnery.—The lac surface is obtained by pressing a stick of lac (sealing wax) on an object revolving in a lathe; the heat developed by the friction melts the wax. Sometimes a layer of red lac, then green, then black, is laid on. The black is scratched through for the green leaves; the green and black for a red flower, and for a white line, all are cut through to the wood.

The Golden Temple of Amritsar.—In the courts of the Exhibition leading into the Court of Ceylon there is a large model of this temple. The temple rises out of a large tank, and is reached by a broad roadway of white marble, with golden balustrades and lamps. The lower half of the temple walls are of carved white marble; the upper half of the walls and the roof, of copper plates, arc richly gilded, and seem a mass of gold. The doors are solid silver; the windows are golden.

Kashmir Court.— Papier-mâché—Silver gilt wire—Shawls—Chintzes.

The Screen is made of Deodar, the time of making was four months, by eight workmen, whose average wages were sixpence a day, and whose tools were the native chisel and adze.

Shawls.—The value of Kashmir shawls has greatly decreased. The Shawl, No 31, now marked 300 rupees, would once have cost 800 to 1000 rupees.

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Central Provinces.—Screen made by native carpenters of Nagpur—Brocades and gold wrought cotton tissues—Tussar silk goods (see page 22)—Carving in which these provinces hold their own.

Houses with carved teak fronts of great beauty are found even in the villages. The necklets are largely worn by Brahmin youths.

Assam.—Screen of bamboo and cane—Barpeta bracelets and necklaces—Jorhat earrings enamelled in gold—Model of homestead—Silk fabrics made of eria and muga silk (see page 23).

The Barpeta bracelets and necklaces consist of alternate beads of coral and gold, about the size of marbles. The lockets and earrings are enamelled in gold.

Burmah Court.—The screen of this court shows the visitor that he has passed from India proper into a country where the religion, the manners, the customs, and consequently the arts of the people differ from any already examined.

Jewellery with peculiar ruddy colour—Lacquered ware—Basket work—Cotton cloths—Tamein or female dress.

Jewellery.—Much of the gold is dyed with tamarind juice, which may be regarded as the "Hall mark" of Burmese jewellery, since the Burmese say that no other metal but gold would assume the peculiar ruddy colour.

The Burmese Lacquered Ware is of two kinds: I. Basket work, a very important trade; 2. Wood work.

Cloths.—Some Burmese cloths, owing to their intricate patterns, require many shuttles, and are known as "fifty-shuttle," "eighty-shuttle," "hundredshuttle" putsoes.

Madras Court.—Old native jewellery, jewellery of the aboriginal tribes, every metal from iron to gold—The peasant jewellery—Travancore filigrain work and ivory carving—Musical instruments.

Native Jewellery.—Two hundred articles, including gold ornaments for the ear, the nose, and the back of the hair. The gold marriage emblem, a representation of the foot of Krishna. Gold beads, gold rings for thumb and index finger, gold necklet, silver armlets, wristlets, necklets, finger-rings and toe-rings.

Hyderabad.—Lacquer ware—Muslins—Gold and silver cloth for beautiful state umbrellas and elephants' cloths—Two beautiful carpets.

Bidar, the home of Bidri ware. No dowry is considered complete among the better class of Mahommedans unless a complete set of Bidri ware, from bed legs to a spittoon, is included.

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Mysore and Coorg.—Swami work—Deities carved in soapstone—Inlaid ebony furniture.

Swami Work. See page 12. The maker of the Prince of Wales' exquisite gold dishes exhibits fine specimens of Swami work.

Hindu Deities.—This collection indicates the "motif" of almost all the well-known Mysore work.

Mysore Goldsmiths are renowned for delicacy and ingenuity of work.