quality to what are fabricated in any other part of the [Burmese] Empire[1]."
Pottery. Pottery attains the dignity of an art and besides pans and jars of common use produces many articles of ornate or grotesque design. Of the large Pegu jars, Symes writes: "The jars of Pegu are in general estimation throughout India, being remarkable for their size and excellence[2]." "The bulk of the glazed pottery work is done by Talaings or in areas where the work has been started by Talaings. Kyaukmyaung, the most important centre in Upper Burma, was settled by Talaing captives[3]." Bassein and Twante used to be important centres of the pottery industry but have declined. "Most of the Burma clays are coloured, yellow predominating; the chief colouring being iron. When burned they give varying shades of red from a bright brick red to an orange tint[4]." But black and green ware also is made. Some articles are beaten into shape; others are turned on the potter's wheel. The glazing material used is either galena or lead slag. The industry is of ancient date, specimens having survived for over four hundred years.
Workers in brass and iron are engaged in making bells and gongs, images of the Buddha, and das (knives) of all shapes and sizes. Burmese bells are notable for beauty of tone and for graceful shape. The making of bronze statuettes is a comparatively modern industry[5].
Silver-work. Even more than for crafts whose end is utility, Burmans are renowned for art-work. Without, perhaps, rivalling the idealism of China or Japan, Burmese artists, subject to their limitations, attain a high standard of excellence. Two of the most widely-practised and effective arts are silver-work and wood-carving. At the capitals,
