^{page 251 note 1} This is the opinion of a practical silversmith, Mr. Southwick of the firm of Tiffany & Co., to whom I chanced to show it; but I myself feel by no means sure that it has not been made by hammering. Certain dendritic cracks support this theory.

^{page 252 note 1} Oriental Silver: Atlas of ancient silver and gold vessels of oriental origin principally found in the Russian Empire. St. Petersburg, 1909Google Scholar . Published by the Imperial Archaeological Commission. (Text in Russian.)

^{page 252 note 2} This garment appears to be identical with that worn by Khusrū Parviz in the Ajanta painting described and figured by Smith, V. A., A History of Fine Art in India, p. 291 (see pl. xxxviii, fig. 2)Google Scholar.

^{page 253 note 1} For a discussion of the purpose and construction of these curious objects, see Dalton, , Treasure of the Oxus, p. 122Google Scholar . Cf. also figure of prince in pl. xxxviii, fig. 2.

^{page 254 note 1} Composite bows are commonly found in Sassanian hunting scenes: see Smirnoff, passim. For the distribution and construction of the weapon see Balfour, Henry in Journ. Anthrop. Inst, xix (1890), p. 220Google Scholar.

^{page 254 note 2} This arrangement of lions or other animals, rearing up and forming a kind of St. Andrew's cross, is a characteristic feature of Sassanian hunting scenes; e. g. silver ewer in the Bibliotheque Nationale, Smirnoff, no. 85, pl. li.

^{page 255 note 1} Dalton, , Treasure of the Oxus, pl. xxvii.Google Scholar

^{page 255 note 2} Smith, V. A., A History of Fine Art in India and Ceylon, p. 275.Google Scholar

^{page 255 note 3} Griffiths, J., The Paintings in the Buddhist Cave Temples of Ajanta, 1896, ii. pl. 104. 8 d; 107. 7 a, 7 e; 121, etc.Google Scholar