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has made on the ceramics of the Korai dynasty of Korea would have lost much of their point.
     Mr. Aigai, who is perhaps the greatest authority on Korean ceramics and art, allowed us constant access to his private collection, and from his long experience in Korea we obtained much valuable assistance.
     When I asked the Museum to recommend me a photographer to make the illustrations to Mrs. Warner's pottery notes, they put at my disposal the services of the official Museum expert and refused to allow me to pay for his time. The objects in the Museum, as well as those in Mr. Aigai's collection, were all freely exposed for examination and photography. 
     I was somewhat disappointed to find that the opening of an important tomb, to which I had been invited by the Museum authorities before I left the United States^[[,]] had taken place some months before. But while the tomb had been sealed again to protect the fresco paintings on its wall, such good copies and photographs of these paintings had been made that it was possible to learn much from a careful study of them. Although the general impression among the Museum arch^[[a]]eologists seems to have been that the tombs dated from the Sankoku period (B.C. 18 - A.D. 632)^[[,]] the style of the great wall paintings suggested to me rather the Chinese T'ang influence, prevalent in Korea under the Shiragi dynasty (A.D. 632-936), than anything earlier. In execution they were splendidly bold, far more indicative of a genuine artistic expression than any painting which has hitherto appeared on the Korean