Page 297 - Oriental Series Japan and China, Brinkly

PORCELAIN DECORATED

colours has not been produced, as would have been the case

in a work executed at one time with enamels subjected to

the same temperature.

The special esteem in which are held uniform or varie-

gated grounds (as green, monochromatic or spotted with

black) having enamelled decoration, has led to a species of

secondary decoration, the first examples of which made their

appearance lately. It consists not only in re-covering the

white portions of the surfaces of old specimens, originally

having a decoration of blue sous couverte, with paintings in
enamels of the " Famille Verte" type the enamels, which

are very fusible, being obtained from oxide of chromium,

and having a yellowish green tone, lacking in metallic reflec-

tions or iridescence but also in applying this same colour

to grounds originally blue, plain, or souffle. This superposi-

tion of two colours, generally associating very badly, pro-

duces a character of spuriousness so peculiar and betraying

such inferior quality, that the experienced amateur cannot
Hebe deceived by it.
knows, in fact, that a glaze coloured

with oxide of copper run over cobalt-blue decoration applied

to the biscuit would emerge from the kiln almost black, and

that, in consequence, a green tint appearing over a perfectly

developed blue could only be obtained by secondary decora-

tion made with an extremely fusible colour, such as is not

included in the Chinese keramist's palette.

If the general examination spoken of above should not

suffice to clear away all sources of doubt, it will be necessary

to undertake a more minute and perhaps more difficult

study, which, however, will surely furnish proofs vainly

sought for in the ensemble of the piece.
These proofs are to be found in the nature of the gold

and of the colours employed by European painters in re-
decorating old pieces or copying them faithfully. Whatever
is to be said of copies applies also to added decoration.

Some pieces need not occupy our attention because, in their

case, Oriental art has simply played the part of inspiring,

and because they show of themselves a general cachet of
Europeanism that precludes all possibility of error. In
respect of others, however, the maker has designedly pre-

pared his pate and suitably tinted his glaze, while all engaged

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