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interest at the British Museum, and I was able to study with some detail several hundred examples of paintings, sculpture, ceramics, textiles, etc.
       When considered in connection with the store of manuscript and printed matter collected from the same source, this mass of material taken on a special significance, as by degrees it is becoming possible to date with accuracy objects of which the period has up to now been in doubt.
       It is not within the scope of this report to comment upon the collection in detail, especially as much of it is about to be published by the authorities of the British Museum. (1) But in connection with our work two points were brought out which particularly interested me. The first of these is that the purely aesthetic judgments concerning the nature of T'ang painting in particular, and the ideas which rest on the vague traditional Chinese lore, will not need to be materially changed when tested by those reached through the study of dated material. Thus it [[underlined]] MODERN CRITICISM [[/underlined]] was gratifying to find that the first T'ang [[underlined]] AND [[/underlined]] paintings brought to this country and so labelled [[underlined]] ANCIENT TRADITION [[/underlined]] by Mr. Freer, agree in manner and technique with those inscribed with T'ang dates in the Stein collection, as well as with the earlier Japanese and Chinese descriptions of the appearance of such work.
       Further study cannot fail to supply us with new data for the determination of approximate dates, but it is reassuring to find that our working hypothesis has thus far not led us astray.

(1) Publications indefinitely postponed.