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5
LONDON
In London Mr. Binyon, Sir Hercules Rende, Mr. Hobson and Dr. Roes of the British Museum gave me complete access to their collections, and I spent many hours over the objects in the cases and in the storage rooms. 
[[underlined]] MAKIMONO [[/underlined]]       At the Museum I met also Prof. Naoki Kano 
[[underlined]] ATTRIBUTED TO [[/underlined]] of the Tokyo Imperial University and Mr. Sei-ichi 
[[underlined]] KU K'AI CHI [[/underlined]] Taki director of the Kokka Publishing Company of Tokyo. The former, an expert on early Chinese calligraphy, was working on the Stein manuscripts, and in view of what I hoped to see later, was particularly interested in his criticisms. He gave as his option that the [[underlined]] makimono [[/underlined]], in the British Museum, attributed to [[underlined]] Ku K'ai Chi [[/underlined]] was earlier than any of T'ang manuscripts with which he was familiar, and saw no reason why the attribution was improbable. He added that as far as he knew, most Japanese critics agree that the writing is T'ang or earlier. I found it hard to pass any judgement based on my own experience, but the silk seemed to me to be of the T'ang period, with patches of various later dates, while the drawing and coloring were quite what I should have expected in the work of pre-T'ang artists, particularly that passage portraying the hunter among the puny mountains, where the scale agrees with the accounts which T'ang critics give of earlier works.
     Mr. Taki, a connoisseur of distiction, though not a critic of Chinese calligraphy, agrees with Mr. Kano in believing the picture to be pre-T'ang.
[[underlined]] THE STEIN [[/underlined]] The objects collected by Sir Max Aurel Stein in [[underlined]] COLLECTION [[/underlined]] Western China on the Indian trade route were my first

Transcription Notes:
Ambrosia: Minor edits. Include the / in [[/underlined]] to show where underline finishes - can get confusing otherwise!