GUIDE TO THE COLOMBO MUSEUM. 107 



numbers of silversmiths in preparing such worji for them. It is 

 recorded that a crucifix sent from Ceylon to the Archbishop of Goa in 

 the sixteenth century was considered such a a\ ork of beauty that it 

 was forwarded by that Prelate to PhiHp II. of Spain, to be preserved 

 among the royal treasures. One specimen of Portuguese carving 

 is shown in the Museum, representing, characteristically enough, 

 Adam and Eve under an apple tree. The Dutch influence is shown 

 in a series of jewel and betel boxes in Case 16. 



De Saram Loan Collection (Case 22).* 

 This case contains various articles of beauty and value, including 

 bronzes which probably came from the ancient temple of Mantota. 

 This collection contains two ivory boxes of unusual beauty, one 

 being book-shaped and the other being noteworthy on account of 

 its line perforated work. These boxes , as well as practically all those 

 in Case 1 6 , are probal5ly of Indian workmanship . As a rule Sinhalese 

 work is on solid planks of ivory, while the Indian is veneered on 

 sandalwood or some other white wood. The hinges and nails 

 employed in Indian boxes are generally of inferior metal. (See 

 Plate XXVIII.) 



Sinhalese Flags. 



From the most remote times the Sinhalese had their standards 

 and badges. The lions on the gateway at Sanchi {circa 320 B.C.) 

 have been identified as the national symbol of Ceylon. Suspended 

 from the roof of the Central Hall may be seen copies of the royal 

 standard of Kandy and the flags of the different Provinces belonging 

 to the ancient Kingdom of Kandy. Although the dimensions and 

 the colouring of the originals are not shown in the copies hangino- 

 in the Gallery, they represent fairly accurately the symbols on the 

 old flags , and have been worked by Sinhalese in red and white in 

 the spirit of the old designs. The flag of Kandy represents the okT 

 Sinhalese banner of a red lion holding a sword , with a ray of the sun 

 or gold finial issuing from the four corners. It is symbohcal of the 

 lion {sinha) race and the Solar dynasty of Ceylon. The others are 

 flags of Provinces. (See Plate XX.) 



The flag of the Seven Korales (Hat Korale) represents a lion. 

 The flag of Udapalata, a red lotus on a white field within a border, 

 with the usual Sinhalese design of stars to fill in a vacant space. 

 The flag of Bintenna displays a red parrot, and the flag of Nuwara- 

 kalawiya the mythical elephant-lion {gaja sinha) iu red within a 

 border, with the star decoration. The flag of Uva bears a red swan 

 (hansa) and the flag of Tamankaduwa a red bear (valaka), while on 

 the banners of Wellassa and Walapane appear respectively a red 

 leopard {kotiya) and a red peacock. The banner of the Four Korales 

 (Hatara Korale) led the van in war, and at the annual Buddhist 

 procession, the Dalada Perahera, at Kandy it bore the sacred and 

 royal symbols of the sun and moon. A representation of the 

 standard of the Four Korales, beautifully worked, which the 

 unfortunate chieftain Lewke bore against the British in 1803, is 

 given in Bell's Report of the Kegalla District, page 126 (Ceylon 



* In Ceylon there are numerous private collections of interesting antiques, 

 the value of which would be largely increased by their display in their proper 

 surroundings in the Museum. It is to be hoped that Mr. de Saram 's example 

 in lending the best specimens in his collection to the Museum will tind numerous 

 imitators. 



