Page 290 - Chinese Art, Vol II By Stephen W. Bushell
P. 290

84    —              CHINESE ART.

                   enamelled on porcelain as well as on copper, and some of the service
                   would occasionally include both excipients in the same set, an urn
                   for hot water, and a tea-pot enamelled on copper, for example,
                   being  accompanied  by  a  milk-jug,  sugar-bowl,  and  tea-cups
                   enamelled on egg-shell porcelain. A curious bowl  is figured  in
                   Du Sartel's La Porcelaine de Chine (page 115) as an example of the
                   surpassing skill of the Chinese in their imitations of Limoges enamels
                   at this time.  It is a shallow bowl with loop handles of fine and
                   light porcelain, formerly in the Marquis Collection at Paris, which is
                   described as a most deceptive imitation, both in shape and decora-
                   tion, of the piece of Limoges enamel which served as its model in
                   China  :
                     " The exterior has a black ground with white ornaments touched  witli
                   gold  ;  the interior  is decorated with polyclirome paintings of Howers and
                   fruit executed with the enamels of the famillc vertc.  Near a basket of flowers
                   in the bottom of the bowl is a faithful reproduction of the monogram I.L. of
                   the Limoges enameller, Jean Laudin."
                     Passing on from the earlier famille verte style to the famillc rose
                   decoration  of Chinese ceramic  art, the remarkable similarity of
                   the motives of decoration, and of the enamel colouring of some of
                   the painted enamels in copper with those of contemporary pieces
                   of the kind fashioned in egg-shell porcelain is indeed sufficient to prove
                   them productions of the same workshops.  Round dishes and plates
                   occur in the two materials backed with the same rose-coloured
                   grounds, and decorated with identically brocaded patterns and
                   diapered bands, interrupted by  foliated  panels  filled with  pre-
                   cisely  similar  pictures,  all executed  in  the same  soft-coloured
                   enamels.
                     The enamel colours used in Canton are well known from analyses
                   made by Ebelmen and Salvetat of a collection actually taken from
                   the palette of the enameller, while he was working at his table, by
                   a French attache in the year 1844, and published in the Reciicil des
                   Travaux scientifiques de M. Ebelmen (Vol. L, page 377).
                     The Chinese themselves consider copper a far less noble o'.iject
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