FIRST FLOOR.
This floor is occupied by the Paintings, the Textiles, the Engravings, Illustrations, and Designs, and the Library.
The Paintings occupy the north-east wing; they include several special collections, the interesting historical collection of water-colours, and the famous cartoons of Raphael. This wing is most directly reached from the vestibule at the north end of the East Court by Staircase 25, on the walls of which are cartoons by Sir Edward Burne-Jones, and tapestries by Burne-Jones, William Morris, and Walter Crane. To the right is ROOM 84, containing the paintings and drawings of the Dyce Bequest, among which theatrical portraits are numerous.
To the right: 63. Unknown, John Milton; 7. Aart van der Neer, River scene; 19. Gainsborough, J. J. Kirby; 22. Romney, Serena; 17. Reynolds, Portrait of a lady; 33. Raeburn, Reverend Alexander Dyce as a boy; 13. J. Richardson, Alexander Pope; 12. Kneller, Portrait of the artist; 76. Unknown, Mrs. Siddons; 70. Loutherbourg, Garrick as Don John; 23. Benjamin West, Saul and the Witch of Endor; 78. J. J. Halls, Kean as Richard III. On screens: 79. Unknown, Kean as Sir Giles Overreach; 4. Roelandt Savery, Flower-piece; by the window, 74. Unknown, Macready as Macbeth. Prints, miniatures, and valuable editions of early playwrights.
ROOM 83 contained the paintings of the Forster Bequest, bequeathed by John Forster (1812-76), the friend of Walter Savage Landor and Charles Dickens. No. 13. Frans Hals. Merry drinker; 10. Greuze, Girl with birdcage. To the right: 12, 11. Guardi, Scenes in Venice; 45-48. Tudor portraits; 32. Reynolds, Portrait of a lady; 39. Watts, Portrait of Carlyle; 17. E. Lambinet, Ecouen; Maclise, 21. Macready as Werner, 20. John Forster as Kitely; 3. Boxall, Landor; 7. Frith, Charles Dickens; 145. Perugini, John Forster; 34. C. Stanfield, Ancona and the Arch of Trajan; 146. Millais, Earl of Lytton; 8. Frith, Dolly Varden; 44. Wynfield, Deathbed of Cromwell; 9. Gainsborough, Daughters of the artist; 2. Bonington, St. Michael's Mount. There are also many interesting drawings by Daniel Maclise (1806-70), Thackeray, Landseer, Clarkson Stanfield, Cattermole, and others; manuscripts of 'David Copperfield,' and the last page of 'Edwin Drood'; autograph letters and poems of Keats, Browning, and others; proofsheets corrected by Dr. Johnson.
To the left of VESTIBULE 89, which contains a collection of Silhouettes, are the rooms (69-65) occupied by the JONES COLLECTION. This collection, bequeathed to the Museum in 1882, includes some magnificent French furniture of the 18th century (including several pieces that belonged to Marie Antoinette); Sevres, Chelsea, Dresden, and Oriental porcelain; French and English paintings, mainly of the 18th century; a fine series of miniatures, besides enamels, jewellery, snuff-boxes, and valuable art bric-a-brac of all kinds.
ROOMS 81, 82, 87, 88, and 90 are devoted to the extensive and valuable collection of Water-colours. A selection only is exhibited, and changes are made from time to time. A notice at the door of each room summarizes the characteristics of each period and names the principal artists. Chronologically the series begins with water-colours executed before 1800, with outlines drawn in pencil or ink. The series is continued with water-colours by Girtin, Turner, Varley, and the Norwich School (Cotman, Crome, and others; 1795-1800); David Roberts, R. P. Bonington, David Cox, Peter de Wint, George Barret, W. J. Muller, and Copley Fielding (1810-40); T. M. Richardson, Louis Haghe, Joseph Nash, William Hunt, George Cattermole, and J. F. Lewis (1835-65). The modern section (after 1860) contains works by the Pre-Raphaelite School, Frederick Walker, George Pinwell, Cecil Lawson, Sam Bough, Thomas Collier, Arthur Melville, H. B. Brabazon, A. Romilly Fedden, and others.
In ROOM 94, opening off Room 87, hang Raphael's Cartoons, part of a famous series designed by Raphael in 1515-16 for Pope Leo X., as patterns for the tapestries woven at Brussels for the decoration of the Sistine Chapel at Rome. Seven of the original cartoons are here exhibited; the other three, which were lost in Brussels, are represented by copies from the tapestries. The subjects (beginning on the left, as we enter) are Conversion of St. Paul (copy); St. Paul in prison (copy); Death of Ananias; Christ's Charge to Peter; Peter and John healing the lame man; opposite: Miraculous draught of fishes; Elymas the Sorcerer; Paul and Barnabas at Lystra; Paul preaching at Athens; and Stoning of St. Stephen (copy). A monochrome copy of Raphael's 'Transfiguration' is likewise exhibited here.
The cartoons are the property of the King Charles I. bought them in Brussels in 1630, for the use of the Mortlake tapestry-factory, and on his death Cromwell secured them for �300. After a period of neglect they were hung successively at Hampton Court (where Sir Christopher Wren built a gallery for them), Buckingham Palace, Windsor Castle, and again (in 1814) at Hampton Court, where they remained until they were removed to this Museum in 1865. The tapestries are preserved in the Vatican, though not in the Sistine Chapel.
Beyond ROOM 95 (water-colours), at the east end of the Cartoon Gallery, we reach ROOMS 96-99, which contain British oil-paintings, mainly belonging to the SHEEPSHANKS COLLECTION, presented to the Museum in 1857.
In addition to the paintings mentioned below, this collection contains works by Wilkie, Redgrave, Collins, Newton, Morland, Gainsborough, Slanfield, Creswick, De Wint, Chalon, Barret, Crome, and others.
ROOM 96. To the left, a charming portrait of Queen Caroline, by Lawrence (No. 121); several landscapes by Richard Wilson. ROOM 97. Left: Two portraits by Raeburn (P 7, P 8); right: Scenes from Shakesspeare and Sterne (Uncle Toby and the Widow Wadman), by C. R. Leslie. ROOM 98. Sir Edwin Landseer, 93. The old shepherd's chief mourner, 87. Highland breakfast; opposite, Turner, 208. Venice, 209. St. Michael's Mount; west wall, Several scenes of rustic life: 145. Mulready, Choosing the wedding gown; 222. Thomas Webster, Village choir. In ROOM 99 are a large number of paintings and studies by John Constable, several presented by Miss Constable, the artist's daughter (33. Salisbury Cathedral, 35. Hampstead Heath, 1631. Cottage in the cornfield, 38. Water-meadows near Salisbury, etc.; also studies for the 'Leaping Horse' and the 'Hay Wain,').
ROOMS 101, 102, 103 contain a few more pictures from the Sheepshanks Collection; examples of foreign painters; on the east (left) wall, panels painted in tempera (Italian; circa 1500); in the centre, statuettes by Scheemakers, Alfred Gilbert, Leighton, and Onslow Ford; Italian processional banner (mid-14th century). ROOM 106 (left) contains the MURRAY BEQUEST. This includes small carvings, ceramics, miniatures, snuff-boxes, jewellery, fans, ecclesiastical plate, and Italian chalices (14-18th century). Among the larger carvings are two kneeling angels in limewood, by Tillmann Riemenschneider (circa 1468-1531), and a 'Palm-esel,' or wooden figure of Christ on an ass, used in the Palm Sunday procession in South Germany (16th century). In ROOM 105 is the Currie Bequest of maiolica, Sevres, Worcester, and other china. Limoges enamels, and armour; on a pedestal, bronze Cupid by Donatello (?). STAIRCASE 108 descends to the south-east corner of the South Court.
We now pass through ROOM 107, with the Offices of the Director and Secretary on the right, and enter ROOM 109, the south gallery of the South Court. The glass-cases here contain Medals, mostly of the Italian and German Renaissance, with a number of French medals and plaquettes, medals of 1914-18, and victory medals. In the lunette is Leighton's fresco of the Arts in Peace. From the middle of this gallery, BRIDGE GALLERY 110, designed to exhibit Stained Glass, leads to Room 100. Much of the glass was presented by J. Pierpont Morgan in 1919. Note especially in the 3rd bay (right), Adoration of the Magi, from Cortona, by William of Marseilles, with the arms of Pope Leo X.; 5th bay (left) Crucifixion, from Altenburg, near Cologne. The collections of Glass are continued in BRIDGE GALLERY III, which affords access to the Textiles department. At the north end are English and Irish glass (17-19th century), German coloured and engraved glass (16-18th century). In a table case, pictures in gold-leaf under glass (chiefly Italian, 14-15th century). To the south, Venetian glass and Mosque-lamps (14-15th century).
From Room 100, where we obtain a near view of Leighton's fresco of the Arts in War, we pass through Room 90 to enter (left) ROOMS 91, 92, and 93, devoted to the IONIDES COLLECTION, which is especially rich in works by French 19th century artists.
ROOM 91. To the left, portraits of the Ionides by Rossetti, and by Watts; 165. Beccafumi, Charity; 97. Cariani (?), The bravo; 99. Pier Francesco Florentine, Virgin and Child; as we return, 3. Rossetti, Daydream; 10. Burne-Jones, Dorigen of Bretaigne; 23. Legros, May service for young women; 8. Burne-Jones, The mill; G. F. Watts, 1. Window-seat, 2. Daphne's bath; Burns-Jones, 9. Cupid's huntingfields (monochrome), 11. Head of a girl, 12. Cassandra; Rossetti, 7. Portrait, 6. Andromeda. ROOM 92. To the left, 107. Millet, Land scape; Le Nain, 17. Landscape with figures, 18. Flageolet-player; 96. Paul Veronese (?), Christ and the centurion; 89. Jan van Goyen Landscape; Poussin, 21. Venus arming ﾦneas, 22. Artists sketching among ruins; 104. School of Orcagna (14th century), Coronation of the Virgin; 13. Bonington, Place du Molard, Geneva; 109. Gainsborough, Landscape with cows; 67. G. Michel, The mill; 108. 'Old' Crome, Wherry on a Norfolk broad; 80. A. Brouwer, Interior; 81. Jan Both, Peasant driving a mule; 90. M. Maris, Haycart; 78. Rembrandt, Abraham dismissing Hagar; 79. Pieter Soutman, Cornelis Backer; 83. Adr. van Ostade, Itinerant musician; 55. Theodore Rousseau, Landscape; 66. Corot, Morning; Millet, 49. The well, 48. Shepherdess 172. Landscape; 62. Diaz de la Peha, Fontainebleau forest; 54. Th. Rousseau, Tree in Fontainebleau Forest; 57. Ingres, Sleeping odalisque; 71. Regamey, Team of Percherons; 19. Degas, Ballet scene; 47. Millet, Wood sawyers; 64. Delacroix, Shipwreck of Don Juan (sketch); 59. Courbet, L'immensite; 56. Rousseau, Landscape; Diaz, 164. Landscape, 61. Bather; 72. Regamey, Sentinel; 128. Fantin-Latour, Flowers; 65. Corot, Twilight; Alphonse Legros, 28, 27. Landscapes, 30. Confession.
ROOM 93 contains the water-colours and drawings of the collection: (right) 25. Legros, Canal; 20. Mary Gow, Mother and child; works by Bonington, Harpignies, Lhermitte, Millet, and caricatures by H. Daumier (1808-91).
The department of Textiles (apart from the tapestries and carpets) occupies the greater part of the first floor in the new front buildings. Specimens of similar technique are grouped together, and where Oriental and European fabrics are shown in the same galleries for the purpose of comparison, the former are arranged on the north side, the latter on the south side. Though the collection is of great value and importance to experts and students, most visitors will content themselves with a rapid survey. Inquiries by students and others are welcomed at the offices of the department, off Room 124.
On the wall of STAIRCASE 127 is a rich series of Elizabethan 'petit point' embroidery from a Warwickshire mansion, the 'Portsmouth' carpet (early 17th century) and other English carpets, and a Turkey work carpet of 1672, with the Molyneux arms. On the STAIRCASE 126 are English embroideries of the 16th and 17th century, including six wall hangings from an old house in Hatton Garden. In the two bridge galleries that run from these staircases, is the collection of Lace (16-19th century). GALLERY 116 contains the Italian and French point lace. At the south end are an altar frontal in 'gros point' and an alb trimmed with rose point (Venetian; 17th century). In a case at the north end is a flounce given by Mme de Maintenon to Fenelon. GALLERY 117 is devoted to north Italian bobbin lace, Flemish lace, and English point lace. At the south end is a Flemish cover with the collar of the Golden Fleece and double-headed eagles, said to have belonged to Philip IV. of Spain; at the north end, a wedding veil of Brussels lace.
GALLERY 112, the bridge across the East Hall, contains a selection of painted Fans. The long GALLERY 113, 114, which extends the whole length of the building, contains in the centre a fine collection of Costumes and English embroideries of the 16-19th century, arranged chronologically from west to east. On the walls of its east extremity (114E) and of STAIRCASE 115 are shown printed or painted fabrics. Under the east dome (114D) are the Linen Damasks and glass-cases with Japanese dolls, dressed figures from Italian Nativity groups, and a model of a Nativity group or 'crib.' On the right is the entrance to GALLERY 79, round the East Court; this contains Japanese embroideries and textiles, above which is a photographic reproduction of the Bayeux Tapestry, a long strip of embroidery illustrating the Norman Conquest by a contemporary hand (traditionally Matilda, wife of the Conqueror). The next portion of the long gallery (114c), as far as the west dome, contains later European silks and brocades. Under the dome is a collection of shoes. In 114A and 113, of special interest are the fine Elizabethan and Stuart embroideries, including the Falkland collection, some good Elizabethan caps, and splendid Stuart bed-curtains.
We return to Staircase 126 and mount to the landing on which are displayed Jewish and Eastern church vestments, including a cope of knotted pile made in Persia (16th century) for an Armenian community at Julfa. The walls are hung with Flemish tapestries. Thence we proceed west through the main textile galleries. ROOM 125. European Textiles other than English ecclesiastical vestments. Here are the famous 'Hildesheim Cope' (German; 13-14th century), fine Spanish red velvet copes (16th century; in the centre), and a series of Italian, Spanish, and German altar frontals (west and north walls). On the east wall is a papal canopy of Florentine velvet brocade (15th century), bearing the arms of Leo XI. (17th century). Above are Persian carpets, including a 'Garden Carpet' (18th century). ROOM 123 contains English vestments, including the 'Syon Cope' (late 13th century), the 'Jesse Cope' (early 14th century), other splendid examples of 'opus Anglicanum,' and the Abbey Dore vestments. ROOM 124 (the wall of the staircase leading up to Room 138) is devoted to a rich set of Turkish brocades (15-16th century), principally from an imperial store at Constantinople or Brusa. ROOM 122 contains select specimens of woven silks; they begin at the west end with Byzantine and Sassanian examples, and continue with pieces of Sicilian, Spanish, German, Lucca, Florentine, Venetian, Persian, and later Italian and French brocades and velvets. On the west wall is a rare set of resist printed linens with Christian subjects (5th century), portions of shrouds from tombs in Egypt. ROOM 121, the pavilion at the south-west angle of the Museum, contains textiles from Egyptian cemeteries of the Roman, Byzantine, Coptic, and Arab periods. ROOM 120 contains European embroideries. At the north end is a Sicilian quilt (14th century) with the Story of Tristram. On the east wall are Spanish looped and embroidered rugs. ROOM 119. Embroideries from the Greek islands. ROOM 118. Oriental embroideries: Turkish, Algerian, Moorish, Persian, Syrian, Caucasian, Turkoman, and Chinese. On the walls are Moorish and Chinese carpets. Other Chinese embroideries are on STAIRCASE 51, and at the entrance to ROOM 132 (on the right, before the top of the staircase), which contains the collection of Samplers, specimens of materials for textiles, and looms and other apparatus for weaving and for lace-making. Room 132 houses also East Indian embroideries, Scandinavian tapestries, Turkoman carpets, and a collection of textiles from ancient Peruvian cemeteries. Here is the STUDENTS' ROOM, for those studying or copying textile designs.
Staircase 51 ascends to the second floor, but in the meantime we descend it (one flight) to the department illustrating Book Production. ROOM 74 (to the left). 1st Section: Reid Collection of Illuminated Manuscripts, arranged according to country of origin. 2nd Section: Printed Books of different countries and periods. 3rd Section: Bookbindings of all ages and in many materials. In the windows is a fine collection of painted glass roundels (English, Flemish, and German). In the VESTIBULE is a selection of early books on different arts, lace, embroidery, and lettering pattern-books, etc.
In the lobby at the east end of this gallery is the entrance to the Library, the largest collection in the world of books on the fine and applied arts (over 150,000 volumes and 250,000 photographs). The books of the Forster and Dyce Collections (35,000) are likewise issued in the Library Reading Room.
The department of Engraving, Illustration, and Design occupies Gallery 75 and Rooms 73-70. GALLERY 75, round the West Court, contains cases illustrating the processes of book-production. The collections in the other rooms are liable to frequent variation, but usually include illustrations of the processes of engraving, etching, and colour-printing. In the STUDENTS' ROOM, which opens off Room 71, visitors may consult any of the 400,000 prints, drawings, and engravings in the museum collection.
SECOND FLOOR.
The second floor of the museum is devoted to the department of Ceramics. ROOM 133 (at the top of Staircase 51) contains Pottery and Tilework from Persia, Egypt, Turkey, etc. ROOM 134 (merely a bay of the long hall), Syrian and Turkish Wall Tiles, some richly coloured. ROOM 135. At the beginning is Hispano-Moresque Ware; farther on, a fine collection of Italian Maiolica. In ROOM 136 are Limoges and other painted Enamels. ROOM 137. In the west portion of this room is tin-enamelled earthenware from France (left side) and other countries of North Europe (right side). Farther on (left) is German stoneware of the mediï¾µval and later periods, followed by similar ware produced in England, including good specimens of Fulham pottery by John Dwight; and unglazed ware, beginning with primitive pottery from Greece and Italy. The series concludes with the fine stoneware manufactured by Josiah Wedgwood and other Staffordshire potters of the 18th century. In cases on the right (South) side of the room are fine Italian earthenwares of the 15th and 16th century, with ' sgraffiato ' decoration; examples of the work of the French potter, Bernard Palissy (died 1589); and a few specimens of the rare ' Henri Deux ' ware. The copy of the Portland Vase to the left of the exit belonged to Charles Darwin, the grandson of Wedgwood, in whose pottery fifty such copies were made. ROOM 138. Later English earthenware (including Staffordshire figures) and recent acquisitions. ROOM 139 contains the valuable Schreiber Collection of English ceramics (earthenware, porcelain, glass), in which most of the principal factories are represented. At the farther end, Battersea enamels. ROOM 140. English porcelain, supplementing the Schreiber Collection. ROOM 141. German stoves and other examples of European tile-work. ROOM 142 contains Continental Porcelain. On the left 'pate tendre' from Sevres and Florence (Medici ware), etc.; on the right 'pate dure' from Meissen (' Dresden china'), Russia, Scandinavia, etc. ROOM 143. Chinese, Japanese, and Korean Pottery. The Chinese ware is arranged chronologically, beginning at the farther end. In a table-case, tomb-wares, figures, etcirca, of the Han, T'ang, and Sung dynasties. On the left side is the Japanese porcelain and earthenware, with typical examples of all the chief factories: near the central window, 'tea-ceremony' pottery. Near the end Early Korean pottery, Chinese jade vases, etc.
The next two rooms on this floor and three rooms on the floor below are devoted to the SALTING BEQUEST, a very rich and choice collection bequeathed by Mr. George Salting (died 1909), illustrating nearly every phase of European Renaissance art, and including also an important section on Oriental art and a few Greek and Roman antiques.
ROOM 144 contains the fine Japanese lacquer-work, Chinese jade and other carvings, netsukes, etc. ROOM 145. Chinese and Japanese pottery and bronzes; specimens of 'famille verte,' 'famille noire,' and 'famille rose.' From Room 144, STAIRCASE 130 descends to ROOM 129, in which are pottery, brass and bronze work, carpets, and other examples of art in the Near East. Here are also a few Greek and Roman coins, terracottas, and busts. On either side of this room are rooms devoted to Renaissance art. ROOM 131 (to the east) Renaissance in France and Germany, illustrated by furniture, goldsmiths' work and jewellery, iron and steel work, earthenware, enamels, ivories, and other sculptures. Under covers are a choice collection of miniatures and some illuminated manuscripts; on the inner wall and in pedestal cases are some exceptionally fine Limoges enamels. ROOM 128 (to the west of Room 129) illustrates the Renaissance in Italy and Spain. The important series of Italian Bronzes and the very fine collection of Hispano-Moresque Ware and *Maiolica should be specially studied.
At the end of Room 128 we reach Staircase, whence we descend to the Museum entrance.
India Museum.
This important and varied collection of Indian antiquities and modern art, which until 1880 was preserved in the India Office, is now a section of the Victoria and Albert Museum, although it occupies a separate building in the Imperial Institute Road , to the east of the Imperial Institute. It is open free on weekdays from 10 to 5 (Thursday and Saturday, 10-9), on Sunday from 2.30 to 6. The collections are being rearranged (no catalogue).
Vestibule. Bronze casting of Gautama Buddha (Burmese; 19th century). Left: Burmese bell; front of a Jain shrine in carved teak (Ahmadabad; 17th century). Right: pair of teak doors from Lahore (16th century). On the ceiling: reproduction of a mosque ceiling at Multan (18th century); carved and painted ceiling from a Madras temple.
Room 1. ARCHITECTURE. Examples of Hindu architecture, originals or copies. Copy of a tomb and portions of a mosque at Multan, in blue tile-work; facades of houses. Carved windows, doorways, etc. In the middle of the room are models of the Taj Mahal and other famous buildings, and a reproduction of a remarkable iron column ('lat') at Old Delhi (early 5th century). At the foot of the staircase, on the left, are serpentine columns from Shah Jehan's palace at Ajmir (17th century) and a marble throne for a Hindu deity.
Room 2. ARCHITECTURE AND SCULPTURE. Casts, etc. Right: cast of throne-pillar from Akbar's hall of audience at Fathpur Sikri (Mogul; 16th century); lattice-work in sandstone and marble. Left: carved stonework from the ruined city of Gaur (circa 1450); colonnade from the royal baths in the Red Palace at Agra, erected by Shah Jehan about 1640, and other objects of inlaid marble; stone columns from a Hindu temple at Ajmir, destroyed in 1200 A.D.; votive stupas from Buddha Gaya (Case 3).
Room 3. SCULPTURE. Right: Grï¾µco-Buddhist sculptures, including a fine torso of Gautama as Prince Siddhartha (4th century); casts of female figures (Hindu art; 9th century); Jain 'tirthankaras' (saints) in bronze and black stone (12th century); at the end, Vishnu and Surya, in black stone (12-13th century). On the left, in wall-cases, are the smaller sculptures. At the end, large Burmese Buddha, and Hanuman, the monkey god.
Room 4. PICTORIAL ART AND CALLIGRAPHY. Paintings of the Mogul school (16th century), including the Romance of Amir Hamzah and the History of Akbar; illuminated Korans (Case 1); Persian paintings (15-16th century; Case 2). In cases and frames: illuminated manuscripts and Indian miniature paintings. The large Tibetan Buddha dates from the 18th century. We ascend the North Staircase, turn immediately to the right on reaching the top and enter the Cross Gallery.
Room 8. METAL WORK. On the top landing, a life-size model of a Bengali goldsmith and a triple head (Chinese, ante 15th century). On the left wall, below, Hindu deities in brass and copper; on the right wall (Case 7), locks, including the iron lock from the gate of Multan, captured in 1849. The cases in the middle contain small objects. At the exit, bronze figure of the Nandi bull. Room 9. METAL WORK. In Case 6 (left), brass inlaid with black lac; in Case 8, model of the Palace of the Winds at Jeypore; in Case 10, Bidri work, including a ewer that once belonged to Tamerlane (1400 A.D.). In wall-cases (right) are astronomical instruments and panels of repousse copper. In the far corners, anklets, bracelets, rings, ear-plugs, etc. Room 10. CARPETS. Models of carpet looms. On the left wall, silk-pile carpets from the Deccan. Room 11. COSTUMES. In the centre, nautch-girl's costumes from Rajputana. Left wall: sheepskin-coats ('postins') from Peshawar. Right wall: Burmese costumes and a collection of shoes. Room 12. EMBROIDERIES. On the left entrance-wall, velvet coverlet captured at Ghazni in 1842. Cases 8 and 21 contain turbans. Case 20 (right), a Kashmir table-cover; Wall Case 7 (right), embroidered coverlet found at Seringapatam in 1799 and said to have been used as Tippoo Sahib's pall; Case 18 (right), Masulipatam coverlet (17th century). Farther on, embroidered saddlery. Room 13. EMBROIDERIES. Case 8 (left), costume of a little girl from Benares; Case 9, Chinese embroideries for the Bombay market. Wall Case 7 (right), beetle-wing embroidery. Wall Case 2, near the end (left), silk-embroidered scarves and shawls from Dacca and Delhi. On the right wall, a historical howdah-cloth and, above it, an embroidered battle-scene (18th century). Room 14. WOVEN FABRICS. PRINTED, PAINTED, AND KNOT-DYED FABRICS. On the left entrance wall, a Lamaist temple-banner from Shigatse; models of Indian craftsmen; in Case 2, Burmese puppets. Room 15. POTTERY AND TILE WORK. Case 3 (left), ancient pottery from Madras tombs. On the right entrance-wall, enamelled tiles and bricks from the ruined city of Gaur. Life-size model of Bengali potter. Room 16. POTTERY AND GLASS. Glazed ware from Jaipur, Delhi, Multan, and Bulandshahr. Left wall, Chinese porcelain made for the Siamese market; Chinese cloisonne enamels; huge storage jars. The other rooms in this gallery are to contain the Royal Loan Collection and the East India Company's relics. We retrace our steps to the top of the North Staircase and turn to the right.
Room 7. ARMS AND ARMOUR. On the walls are arms and armour arranged according to districts. On the staircase wall (Case 17), Mogul 17th century chain-armour; in front is a cannon used by Tippoo Sahib at Seringapatam (1799). To the right (facing south, towards Room 6), in Case 43, helmet and chain-and-plate armour (17th century). To the left, in Case 44, Tibetan scale-armour (before 17th century); Case 45, Rajput military costume (17th century). Swivel-gun, mounted on a camel saddle. In the centre, Suit of Tibetan horse-armour, with alternate pendants of English and Chinese silk; there is another in the case to the left. Farther on, Burmese cannon in the shape of a dragon. 'Tippu's Tiger' and other relics of Tippu Sahib, sultan of Mysore in 1782-99. To the left, in Case 50, flint-locks and match-locks; among the spears on the wall adjacent is one made of ivory and brass from Jodhpur. Case 49, helmets, jewelled daggers, and swords. On the wall, adjoining Case 50, are weapons made of two antelope's horns with parrying shields. Case 53, jewelled sword-belt. In Case 36, on the left exit-wall, sacrificial weapons. Case 39, in the right row, Malay kreeses; Case 40, Javanese daggers and spears and Burmese 'dhas.'
Room 6. JEWELLERY AND ENAMELS. GOLD AND SILVER. CRYSTAL AND JADE. Central row: Golden throne of Ranjit Singh (Case 25); carvings in jade (Case 21); costumes of King Thibaw of Burma (Case 26); model illustrating the mode of wearing jewellery in the Punjab (Case 27). Left row Case 34 (Mogul jewellery): Ceremonial spoon jewelled with rubies; Elephant-goad (ankus) with diamonds set in a spiral band; necklace of pearls and enamel, with a diamond and ruby ornament. Jewelled jade (Case 32); gold relicshrines and treasures from Rangoon and Mandalay (Case 20); jade ornaments; carvings in crystal (Case 30); Indian silversmiths' work (hookahs; Case 28). In the wall-cases on the left: Tibetan ornaments (Case 9); Indian silver ware (Case 11); necklaces; damascened silver and gold (Case 13); filigree and chased silver (Case 15); fly-flappers (Case 17). Right row: Burmese regalia, golden treasure from Mandalay (1885); gold necklaces; silversmiths' work from Burma, Siam, and Indonesia (Case 18). Wall Case 3, on the right, Kashmir enamels; Case 1, Silversmiths' work from Siam and Perak.
Room 5. WOODWORK AND FURNITURE. IVORIES, LACQUERS, AND MUSICAL INSTRUMENTS. In the centre, collection of Stupas and figures of gods, saints, and magicians from Yarkand (1750-1850); ornamental plaques in deodarwood. Drums, gongs, and reed and string instruments, some in the form of boats, alligators, and peacocks. Instruments made of gourds. Painted and incised lacquer work. Bedstead from the palace at Mandalay. Elaborately carved show-case from Travancore (1900), containing ivories. On the right, Burmese teak carvings. On the left, two sofas and a sideboard in black wood, showing Dutch influence (circa 1850). Farther on, in the left row: Burmese lacquer work (Case 25); Burmese books and covers (Case 26); ivories (Cases 27 and 28); objects in horn and porcupinequills (Case 29); in Case 31, an armchair which once belonged to the Amir of Afghanistan, and an Indo-Portuguese pastoral staff in tortoiseshell; carved ebony (Case 32); furniture of painted wood, in lacquer, or with glass ornamentation (Case 33); caskets of ivory inlay (Case 34). Right row, as we return: ivory inlay (Cases 1 and 2); screen with lattice work, from the Punjab (Case 2); furniture of ebony inlaid with ivory (Case 4); caskets of ivory, sandalwood, and mosaic (Cases 3, 5, and 6); carved sandalwood caskets, etc. (Cases 7 and 8); objects in split rattan (Case 9); lacquered bamboo (Case 10). On the walls: carpets from Lahore (Mogul; 17th century); copies of the 6-7th century frescoes in the Ajanta caves; Tibetan (Lamaist) monastic paintings (12-19th century); water-colours by W. Carpenter and F. W. A. de Fabeck.
Staircase. Cast of one of the huge gateways of the Sanchi Tope (1st century A.D.); small model of the restored building (3rd-1st century B.C.). Objects in leather, alabaster, and soapstone. We descend to the entrance, passing a reproduction of the door of the Golden Temple of Amritzar.
