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of carefully selected objects chosen from both the aesthetic and arch^[[a]]eological points of view. I had three days in which to examine them, including the final Sunday after the closing of the Exhibition, when the Director^[[,]] M. de Tizac^[[,]] courteously gave me permission to enter. These three days were valuable, as the material shown was of the utmost importance, including examples of the Khmere art from Cambodia, which I studied later on the spot at Angkor. And here also, I saw the four important early Chinese stone sculptures which were subsequently purchased by three American collectors (1) and brought to this country.
[[underline]]BUDDHIST[[/underline]] The specimens of sculpture from Java, Burma, [[underline]]SCULPTURE[[/underline]] Laos, Tibet and Cambodia were all of particular interest as illustrating types of Buddhist art of the rarer sort, apart from the main streams of Buddhist cultures. It was a striking example of the fact that a proper choice from the productions of those countries may show the high standard of the aesthetic impulse attained by them,--a point not often emphasized by Museums which have collected from the anthropological or the archeological point of view.
Of the early Chinese sculptures and paintings I was able to examine some of the first rank, among which six (2) have since been exhaustively described by M. Chavannes and need no mention here. Other minor examples proved to be

(1) Mrs. John Gardner, Dr. Denman W. Ross, Mr. Hervey Wetzel.
(2) Ars Asiatica vol. 2, "Six Monuments de la Sculpture Chinoise."