16 SPOLIA ZEYLANICA. 
The best work has been done in the Kandy District, but compara- 
tively little of real delicacy is now met with, while a great deal of 
careless gaudy stuff is to be seen. Tall classical amphore too are 
now largely made and painted, usually very badly, and considering 
their exotic form and poor decoration are not very pleasing. 
Some painted earthenware appears to be intended merely to serve 
as decorative objects,and not intended for use ; other sorts are special- 
ly made for use, such as various jars and vessels with lids convenient 
for keeping betel leaves fresh, some varieties of pankanda, and a 
complex form of cobra-decorated lamp, holding many wicks, used 
by devil dancers and called piinakalé. The only colours properly used 
in painting pottery are red, yellow, white, and black, 7.e., the ordi- 
nary pigments of the Kandyan painter. The designs and decoration 
are also identical with those found in other paintings, so that there 
is no need to describe them in further detail upon the present occa- 
sion. 
CONCLUSION. 
The subject of Sinhalese (especially Kandyan) pottery has now 
been reviewed in some detail, although there are many points on 
which fuller information would be desirable. A full account of early 
types of earthenware found at Sigiri, Anuradhapura, and elsewhere 
would be of great value and interest. It is also possible that I have 
overlooked some forms of earthenware to be found in other districts 
than those (chiefly Sabaragamuwa and the Central Province) which I 
have especially studied. I have found, however, that once a fami- 
liarity with the typical forms had been obtained, I scarcely ever 
met with aberrant or unusual forms ; in other words there is great 
fixity of type, and we do not find individual potters experimenting 
on their own account, probably because the fixed types exactly ful- 
filled the purposes for which they were required, and it would not 
occur to the potter to work for mere amusement or for the produc- 
tion of beautiful forms apart from practical ends. Nor was the 
material available, or the potter’s skill sufficient, to so interest the 
leisured or more wealthy classes as to lead to a demand for decorative 
pottery considered apart from ordinary household requirements. 
The most elaborate earthenware we meet with is made for use in 
connection with religious buildings, for the needs of which the king 
or other rich patrons were willing to secure the services of all the 
best workmen, or for which the potter was willing to work unpaid, 
or to which he had to supply earthenware as a service rent. 
The reader will have already observed that the art of pottery has 
degenerated far less than the other Sinhalese industrial arts, and 
though there is nowadays little demand for good work in decorated 
