CHINA
CHINA
with large figures that stand nearly as high as the vase. These figures, boldly designed, nearly always evince verita- ble talent on the part of the decorator. In order not to distract the eye from the principal subject painted by him with the finest blues of his palette, cleverly graded, he has refrained from ornamenting the shoulder or the lower part of the vase, and has left the space about the figures open. The only fault of this particular type is that it is not sufh- ciently rare. Collectors are therefore content to possess one or two specimens of it, leaving the others in the stores of bric-a-brac dealers where they accumulate, vainly awaiting purchasers. These are the vases, or at least some of them, that we are surprised to see reappear clothed with new deco- ration. The neck is now adorned with a triple border in brightly coloured enamels. The shoulder is occupied by a large zone of iron red or green with reserved designs, and above the figures runs a border of scallops or false gadroons_ in yellow, blue, or green enamel, such as we see on fine specimens of the Famille Verte. Finally, the long robes and accessories of the figures are no longer simply blue, but show a more or less happy addition of gold.
The question has been raised whether these vases should be regarded as a really ancient variety, rare specimens of which, jealously preserved up to the present by Chinese amateurs, had suddenly made a triumphant and unexpected appearance among us. Ought we not rather to recognise the cylindrical vases spoken of above, the low price of which added to the possibility of exposing them to the temperature of the enameller’s furnace, indicated them as fit subjects for the crafty skill of our secondary decorators. The latter doubtless transformed some of them, but there can be little question that others were transformed in China, in obedience to orders and directions sent from Europe. So far as we are concerned, we believe that we have seen both kinds, though we are sure that we have never met with any really ancient.
Imitators, knowing well that no decoration over the glaze, however fine, ranks with decoration de grand feu in the eyes of amateurs, have not failed to turn their attention to paintings on the biscuit (under the glaze). In respect of
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