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 into shape, backed with a lac got from the roots of the sal-tree, and the pattern hammered out with blunt tools. As the workman draws his own pattern as he works, his success depends on his ability, and he is able to express individuality in both design and execution; and I have seen, and have in my possession, some very good specimens in gold, silver, brass, and copper work. They also cast exceedingly well in brass and bronze. The method they follow is to first model in wax the object they wish to make; they next coat the model with successive layers of cow-dung, clay, and a little finely chopped straw; this is allowed to dry very slowly, and when thoroughly dry the wax is melted out, leaving an excellent mould, into which the molten metal is poured. The detail obtained in this way is marvellous; and as each model must be separately moulded it carries with it the great charm of all Oriental work—individuality.

Very good knives are manufactured in Sikhim. They used to be made from indigenous charcoal iron, but now that steel bars can be bought so cheaply the workmen—more is the pity—have entirely abandoned the old method of extracting the iron direct from the ore.

Cotton cloth is also manufactured for their own use, but the yarn is nearly all imported now, though a small portion is still made locally. The women weave at small looms set up in the different houses where the dyeing of the thread is also done; and until lately vegetable dyes, to be found in abundance in the forests and jungles of Sikhim, were always used. Unfortunately, aniline dyes were introduced into the bazaars; the people, finding they gave more brilliant results, were cheaper to buy and easier to use, took to them, and nearly spoilt the industry, until I was obliged to prohibit the sale of aniline dyes throughout Sikhim, and so force them to return to natural vegetable dyes, which produce such beautiful soft tints and last so much better. Carpets and woollen cloths are also made, and I started weaving schools in Lachung, and later on,