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several objects of Chinese and Japanese art all chosen with taste and discrimination, but of periods somewhat later than those to which our attention must be mainly devoted at present. An exception to these was a good Yuan-Ming painting in the Southern Sung style. The subject was a philosopher and his attendant riding a single horse through the snow, preceeded by the plodding figure of a boy on foot who leads the horse.
The Persian miniatures in their collection were also worthy of notice, as were the two or three well chosen specimens of Han and T'ang pottery.
At an exhibition or Persian miniatures and Indian paintings arranged from the collection of Mr. Kevorkian I saw many early and beautiful examples [[strikethrough]]as[[/strikethrough]] showing one of the main influences which must be distinguished in the art of the Western boundaries of China from the tenth century to the eighteenth; an influence which doubtless had its effect on the debased Buddhist art of Tibet.
Another Persian exhibition, at Rosenburg's galleries, furnished examples of the same kind, though entirely from a region which our activities will hardly have the opportunity to penetrate.
At the remarkable establishment of M. Bing was a rough dark stone group from Boro Boedoer in Java--a rare fine in Europe today owing to the fact that exportation has been strictly supervised by the Dutch government. There was also an expressive Khmere head in grey sand stone of the style associated with the period which produced the later work of Angkor Wat. In addition Mr. Bing had a few good T'ang specimens of pottery and some less important sculptures of the same