Pennsylvania Museum

Library

Philadelphia, Pa.

Accession No.

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EXAMPLES
OF

CHINESE ORNAMENT
SELECTED FKOM OBJECTS
IN

THE

SOUTH KENSINGTON MUSEUM

AND OTHER COLLECTIONS.
BY

OWEN

JONES.

ONE HUNDRED PLATES.

LONDON
S.

&

T.

GILBERT,

COPTHALL BUILDINGS,

BACK OF THE BANK OF ENGLAND.

MDCCCLXVII.

E.C.

'

LONDON
WJD W
DEN,
'.I

Castle St. Leicester

NK
Q

I'KIN

So^.1

PREFACE.

The

late

many

ing of

in China,

had

which

truly

the beauty and

for

the

ornamentation.

that

and

styles

of

Ornament

no important phase of

skill

harmony

Plates

the following

new

caused

magnificent works

perfection

also

these

has

by the destruction and sack-

rebellion,

been rarely seen before that

only for the

In

and the Ti-ping

buildings,

public

number of

great

not

war

the

introduction

of Ornamental
period,

shown

in

Europe of a

to

Art, of a

character

and which are remarkable,

the technical

of the colouring,

and

processes, but

general

perfection of

have gathered together as great a variety of

as

this

have come within

my

reach,

and

trust

Art has escaped me.

at South
have had the advantage of access to the National Collection

of Fonthill,
Kensington and the unrivalled collection of Alfred Morrison, Esq.,

who

has

appeared

secured
in this

the

finest

country.

specimens

From

from

time

to

the collection of Louis

time,

as

they

have

Huth, Esq., exhibited

PREFACE.

South Kensington, and from many objects

in

De La Rue, Thomas

Wyatt, Esq., Col.

M. Digby

the possession of

in

Chappell,

Esq.,

F.

0.

Ward,

Esq.,

Messrs. Nixon and Rhodes, and others, the bulk of the compositions have been
obtained.

My

thanks are especially due to Messrs. Durlacher and Mr.

for the liberal loan of

many

objects,

which

Wareham

have been thus enabled to copy

the quiet of the studio.

in

venture to hope that the

ment hitherto

little

Ornamental Art,
seek,

the

known
valuable

progressive

eternal principles

will

publication of these types of a style of Orna-

be

found,

and instructive

by

all

aid

in

those

in

the

building up

practice

what we

which

Argyll Place,
July 15, 1867.

all

development of the forms of the past, founded on the

all

good forms of Art

display.

OWEN
9

of

JONES.

CHINESE OENAMENT.
colours, but we
have long been familiar with the power of the Chinese to balance
ornamental or convenwere not so well acquainted with their power of treating purely

We

I
of Ornament on Chinese Ornament
Chinese had not the
was led, from my then knowledge, to express the opinion that the
appears that there has
power of dealing with conventional ornamental form but it now
very important kind.
been a period in which a School of Art existed in China of a
had a foreign origin it so nearly
are led to think that this art must in some way have

tional forms

and in the chapter in the

Grammar

We

resembles in

all its

principles the art of the

was derived from them.

class,

and,

It

would be no

Mohammedan

difficult

races, that

we may presume

task to take a work of ornament of this

by simply varying the colouring and correcting the drawing, convert

Indian or Persian composition.

There

is

it

it

into an

of course, in all these works, something essentially

evidently Mohammedan.
Chinese in the mode of rendering the idea, but the original idea is
same instinct, and
The Moors of the present day decorate their pottery under the
follow the

same laws

as

the Chinese obeyed in their beautiful

enamelled vases.

The

marvellous instinct
takes a rudely-fashioned pot or other object, and by a
into triangles of proportionate area,
divides the surface of the object, 'by spots of colour,
triangles are then crossed by others,
according to the form and size of the object; these

Moorish

artist

Ornament from a Moorish

Jar.

CHINESE OENAMENT.
All these spots are then united by a continuous

fonned with spots of a different colour.

spaces thus created are

to,

The

suggested by the peculiar form they have taken on the surface of the object.

line,

with other spots and

rilled in

the leading lines, and are then

further

still

lines, in

the direction

up by smaller

rilled

or in contrast

of,

spots,

till

the whole

presents an even tint or bloom.

The Chinese

works now under review must have proceeded

in the

The position of the larger flowers was

first

fixed

came

caprice of the artist

same way.

the position most suited to develope

in

was

the peculiar form of the vase, and the whole surface

symmetrical proportional areas

in the

set

out by these flowers into

here law and order were abandoned, and the instinct and

into play, in uniting all these fixed centres

by a flowing

line.

This flowing line then dividing the different triangular spaces irregularly, masses of inter-

mediate
line

as flowers or large leaves,

size, either

these secondary

is

still

of ornament

objects,

springing from the continuous

what

tint.
is

the whole

till

This method of composition

peculiar

and

it

will be

manner than

less rigid

continued by the introduction within

is

to

is

is

filled

followed in

up,

all

how

seen throughout the plates

portion of the principal points of the composition

is

mark the

the inter-

and repose

the Oriental

the Chinese, especially in their large

the large relative size of the principal flowers which

is

the areas

the process

smaller forms, buds, or stalks,

obtained by evenness of

styles

in,

masses also balance triangularly, but in a

with the larger flowers

mediate spaces of

were put

enamelled

triangulation of

cleverly this apparent dispro-

got over by the detail on the surface

of the flower, so that the desirable evenness of tint

preserved.

is

This method of having fixed symmetrically arranged spots, round which run

and branches, was

characteristic of

growing out of another

Roman Ornament, which

scroll encircling

leaves

generally consisted of a scroll

a flower.

Roman Ornament.

The bulb
period
scroll

and

at the point of junction of the volutes

in

becomes flattened out into the form of a

stem.

leaf; the

In the Renaissance style the peculiarity of

more sparingly
present
;

as

other

every volute
6

was got

rid of

during the Byzantine

the Arabian and Moresque, and Oriental styles generally, the end of the

is

Roman Ornament

elements were introduced

terminated by a

flowers flow

flower.

it

In

oft'

the continuous

reappeared, but

was subordinate, but

the

Persian, which

still

much
ever

comes much

CHINESE ORNAMENT.
not at the end of a volute, but at the
nearer our present style, the flowers are placed,
in neither of these styles is the
style
junction of two tangential curves so in the Indian
always the guiding principle, but it
system of triangulation so rigidly carried out it is
mam
In the Chinese ornamentation, triangulation is the
:

is

more

artistically

concealed.

arrangement

feature, the geometrical

is

treatment of the intermediate spaces

absolute and undisguised, but softened by a free

left

by the

triangulation.

style under discussion

examination of the plates will satisfactorily prove, that in the
as derived from natural laws, and
principles advocated in the Grammar of Ornament,

An

the

found in

all

We

the Oriental styles, are here also universally obeyed.

of Ornament:

Grammar

say by Proposition 10 of the

" Harmony of form consists in the proper balancing and contrast of the straight, the inclined,

and the curved."

By

Proposition 11

In surface decoration

should flow out of a parent stem.

all lines

and

distant, should be traced to its branch

By

Proposition 12

Every ornament, however

root."

All junctions of curved

be tanwith curved, or of curved lines with straight, should

lines

gential with each other."

By

Proposition 13

"Flowers, or other natural

representations founded

should

objects,

upon

them,

not be used as ornaments; but conventional

intended
sufficiently suggestive to convey the

object they are employed

image to the mind, without destroying the unity of the

to

decorate."

We

shall find that in this style Proposition 10 is

Proposition 11

also,

styles;
with this proviso, that we have two well-marked

entirely in accordance with Proposition 11,

there are several centres

branch and
are

many

root,

though

roots in the

but in
in

is

The examples
style the

objects.

to

'lies

in

indeed,
its

we

to their

fragmentary style there

its full exemplification.

In some of the enamelled work

The intention always

is

to

make them

it

is

always the result of

tangential.

We

Proposition 13.
are not so apparently in accordance with
the extreme limit of the representation

Chinese have reached

relief,

same composition,

and flowers can be traced

to caU the

one

same composition.

tlunk in

of natural

endeavoured
none of our examples, by light or shade,
both by colour and
though in many of the examples it is suggested
ornament
value of the publication of this style of

They have, however,

express

form

cases the leaves

curves, but
a stiffness at the point of junction of two

imperfect execution.

this

all

in the

and the other where,

what we have ventured

Proposition 12 also here finds

there

most completely obeyed.

in

think that the chief

suggestive character

it

shows how unnecessary

it

is

to

be content with the

ornaconventionally rendered
and that many natural objects may be
We repeat, however, that the
propriety.
mentation without overstepping the bounds of

stock forms

CHINESE ORNAMENT.
Chinese have in this style reached the very limit
that a

more moderate suggestion of

The compositions

will

of such

would be more

relief

possible

representations,

and

artistic.

be found to range under the three systems represented

in

the

diagrams.
_.

-If

1.

2.

The

Fra'-Tiientftiv

The Continuous-stem System.

System united.

i.

The scheme of colouring of the Chinese

with broken colours:

is

pale blue, pale green,

dark green, purple, and yellow and white,

in

crude or harsh in any of their compositions;

The Fragmentary System

peculiarly their own.

and pale pink

much
the eye

for

the

They

deal principally

masses;

smaller quantities.
is

interspacing.

There

dark pink,
is

nothing

perfectly satisfied with the balance

and arrangement of both form and colour but there is an absence of that purity in the
drawing which we find in the works of the ancient Greeks, Arabs, and Moors, and even in
;

the works of our

8

own

day, of

all

the

Mahommedan

races.

DESCRIPTION OF THE PLATES.

-3=>&e3*;

Plate
Ornamental

Title,

In the lower, one continuous main stem

the bowl.

I.

arranged from a painted china

dish.

runs through the general forms, embracing all the

The
flowers, which are geometrically arranged.
broad blue line which forms the boundary of the

composition

Plate

II.

taken from a very fine Vase of blueThis plate

The large flowers are arranged
and-white china.
is

triover the surface of the Vase in equilateral

stem,
main
continuous
one
by
united
angles, and are
throwing off smaller masses arranged triangularly.
introduction of the ground colour in the centre
all

The

of the flowers

is

very valuable, and materially helps

the repose of the composition.

Plate

the dark ground are after the Indian manner ; so

pendant
also is the general arrangement of the

is

common

Moresque, and indeed all

The treatment of the shading of the
Oriental art.
flowers is also Indian in character.

Plate VII.
Again in
a blue-and-white china Dish.
example we see a Persian influence in the
flowers round the edge, and in the form of the external rim of the dish.

From

this

Plate VIII.

scrolls

Here we
a blue-and-white china Bottle.
bottle,
the
round
have continuous stems running
each
into
fitting
left,
throwing off flowers right and

From

other

as

it

lost sight

were, and yet

is

never

of.

Plate IX.
Borders from blue-and-white china Bottles

Plate IV.
This plate is taken from a large Vase, similar
in general arrangement to that from which Plate II.
much
is taken, but the forms of the Ornament are

The composition

triangulation

have their ter-

minations so peculiarly Chinese.

less pure.

and in the form

to the Arabian, Persian,

is

ornament, except that the

continuous

III.

arranged from a blue-and-white

china Basin, and shows half the circumference of
The four pear-shaped masses
the basin developed.
The etched outline flowers on
are very effective.
This plate

also

is

of a pendant arch recalls a form which

consists of three bats

placed triangularly, crossed by three flowers similarly

these are all
arranged in the opposite direction
off other
throwing
stem,
continuous
a
united by

Plate X.
The
Borders from Vases in cloisonne enamel.
instinct of triangulation may be observed in

same

the colouring of the ornament.

Plate XI.

masses of conventional form.

The same
Plate V.
Here
similar composition on a dark ground.
groundthe
repose is obtained by the etching in

colour,

on the leaves and

flowers.

which are exhibited in

be seen in this specimen from a

principles

Plate II. are to

Bowl in cloisonne enamel.

arranged in triangles, crossed

the opposite direction, and

tinuous stem throwing

up the ground
yet not in a manner
;

Plate VI.
Part of a pendant Ornament round the top of a
In the
magnificent blue-and-white china cistern.

upper border the lines run in one direction round

all

The large flowers are

by smaller flowers in

all

connected by a con-

off leaves

and

stalks to

so

apparent as to interfere
The system

with the freedom of the composition.

of triangulation is still further kept
colouring.

On

the

fill

geometrically arranged, and

left

the

up

purple flower
9

in

the

is

the

DESCRIPTION OF THE PLATES.

apex of

with two red flowers for a base

a triangle,

(the left one not being contained on the plate).

In the same way, on the right of the plate, the
light-green flower

two dark-green
flower

is

alone, and yet

Bottle.

the apex of a triangle, with

flowers

at

the base.

The white

its

Plate XIX.

which form the base of a triangle having

Plate XII.
Portion of the circumference of a large Bowl in
cloisonne enamel.
This composition is repeated
twice round the bowl, and the lines
centre

From

centre lies between two small red

a green flower for the apex.

the

united by one main

all

the centre of the composition, and stands

is

tinkers

posed triangularly, and are

stem, which runs round the circumference of the

Although

flower.

all

spring from

not on the formal

same

principle of the composition last described, the

system of triangulation of form and colour

is

ap-

a china Dish, the pattern being stamped

or engraved on the clay before colouring.

This is a
specimen of a style of ornament of which there are
to be found immense varieties.
It is probably much
more modern than the specimens already described.
We have still the instinct of triangular composition,

but

it is

not so decidedly marked

the centre flower

occupies more relative space, and the stems out of

which the flowers spring, instead of flowing onwards

in a series of volutes, often re-enter and return upon
themselves.

This principle

whilst the flowing line is

essentially

is

common

Chinese,

to the Arabian,

Moresque, Persian, and Indian styles.

The border
on the edge of the dish is almost Greek.

parent at a glance.

Plate XIII.

Plate XX.

From an
The

Incense-burner in cloisonne enamel.

The same

flowers are arranged over the surface in equitriangles,

lateral

and are crossed by stems with

volute terminations, also triangular, but less formal,

which

up the

fill

which
though

observations will apply to this plate,

taken from a painted china Dish.

is

all

Al-

the groups are united, theyT do not, as in

we have examined, proceed from

In this example, also, the pattern is
one centre.
indented, showing that probably some mechanical
means were employed to produce it whilst on such
Vases as Plates II., III., and V., they were freely
drawn by the hand without any mechanical aid.

the finer examples

interstices.

Plate XIV.

This plate represents half the circumference of

a Vase in cloisonne enamel.
The arrangement of
form and colour is most artistic.

Plate XXI.
Plate XV.

From
position

is

a cloisonne-enamelled Bowl.

This com-

similar in principle to that of Plate

series of

Borders from various objects, in blue

and white china.

XL,
Plate XXII.

but the large flowers are more perfect iu form and

detail.

Centre of a Plate and various Diapers, from

objects in blue

Plate XVI.

and white china.

the upper portion of the plate

is

The border on
an interesting ex-

ample of the conventional representation of natural

Borders from similar Vases.

flowers symmetrically arranged

after the Persian

manner.

Plate XVII.
This singular composition
represents

the portion which

is

main stem winds round the

large

flowers,

which are,

Plate XXIII.

from the handle of

is

a Standard in cloisonne enamel, the black ground

pierced (a jui'i
staff,

).

through the

usual, triangularly

as

placed.

From

a Bottle of blue and white china a very

example of symmetrical arrangement it is also
interesting as showing the limit of shade and relief
in the representation of flowers
a limit which the
;

fine

Chinese constantly reach, but never exceed.

Plate XVIII.

From
form of

this

painted china

very Indian outline.

II)

Bottle.

border, like that

The

Plate XXIV.

The general

on Plate VI.,

flowers here are also

lias a

com-

From

-blue-and-whitc china Cistern.

This

is

noble composition, on the same principle as those

already described.

The

artistic introduction of the

DESCRIPTION OF THE PLATES.

Plate XXXIII.

white lines on the dark ground, and the outline to

flowers and leaves on the white ground, so as in

each case to soften the transition,

is

worthy

of

remark.

a similar Vase, but less perfectly executed.

filling up of the side of the vase is very fine in

From
The

The pattern on the

composition.
is less

perfect than that on the

inside of the lip

last plate.

Plate XXV.
Plate XXXIV.

objects in blue-and-white china.

From

From a

a blue-and-white

china

the
Bottle.

is

from the inside of

lip.

This

composition, like that of Plate XXIII., is a fine

example of the conventional representation of natural

but for the peculiar character of the termination of some of the leaves, it would pass for

flowers

of the plate

The upper portion

Plate XXVI.

From

similar Vase, but of the round form.

Plate

XXXV.

In the
a Bowl in cloisonne enamel.
we have a fine example of continuity

From

centre pattern

of leading stem.

Indian or Persian.

Plate XXXVI.
Plate XXVII.

From

The
a large Jar in cloisonne enamel.
composition is essentially Chinese

blue-and-white china.
From
borders at the top
the
and
composition
The centre
in character and
Persian
very
of the plate are

though very brilliant in colouring, it

perfect in art than the compositions

arrangement.

recognise a foreign influence.

various objects in

this

style of

a blue-and-white

china Bottle.

This

notwithis peculiar, but not inelegant

standing the fragmentary nature of the composition
the masses are well balanced, and the repose of the

composition

whole

is

in

less

which we

Plate XXXVII.

Plate XXVIII.

From

much

is

From

Plate XXXVIII.

From

not destroyed.

a Bowl in cloisonne enamel. This compoChinese in character.

sition, bike the last, is entirely

This also

a Dish in cloisonne enamel.

essentially Chinese

in character.

is

Four bats with

outspread wings, and connected at their extremities,

make up the composition : in the centre is a kind of

Plate XXIX.

The inside and outside of a very finely executed

Bowl in cloisonne enamel. On the inside of the
bowl we have a conventional representation of the
The land by the flower
land, the sea, and the air.
on the island, the sea by the horses disporting themselves in the waves, and the air by bats and birds

labyrinth.

Plate XXXIX.
Fragments from cloisonne-enamelled Vases,
showing various applications of the fret patterns.

Plate XL.

floating in clouds.

The upper
Vases in cloisonne enamel.
wings.
outspread
with
bats
of
composed
border
not
does
sheet
the
half
of
lower
on
the
pattern
The

From

Plate XXX.

From

very beautifully executed

is

Basin

in

appear to be based on any principle, yet evenness of

cloisonne enamel.

tint is very cleverly obtained.

Plate XXXI.

From

Vases in cloisonne enamel.

Plate XL1.

From

a very beautiful painted china Bottle but

Chinese twist to the leaves and
might pass for Indian lacquer-work.
;

for the peculiar

Plate XXXII.

From

a square

The
Vase in cloisonne enamel.
is very elegant, and the compo-

outline of this vase

ornament contrasting with the curved

The pattern on the lower half
lines is very fine.
of the plate is from the inside of the lip.
sition of the

scrolls it

Plate XLII.
Also from a painted china Bottle. This composition, unlike the last, is essentially Chinese ; not only
the flowers

and leaves have the peculiar Chinese

11

DESCRIPTION OF THE PLATES.

character, but the fragmentary style of the composi-

Plate L.

tion, starting from the flowers, yet linked together, is

much less artistic than the continuous stem seeking

From a very beautiful painted Vase. Again we

have this mixed style in a very marked manner
the composition is of the detached character, starting

embracing

out and

the flowers

all

symmetrically

arranged.

from many centres, yet

Plate XLIII.

others have a

much

the vase before painting,

ciple referred to in the last plate.

vase.

light-running ground pattern, which

Plate XLIV.

From a painted china Bottle.

specimen of what we have ventured to
The same

is

call frag-

principle of triangulation

observed in this style, and the patterns springing

from different centres fit into each other in a mar-

is

vellous

not

manner,

is

is

continuous

The

indented on
all

over the

Plate LI.
This again

style.

Some

linked together.

nearer approach to nature.

a gourd-shaped painted china Vase. We

have here an example of the continuous-stem prin-

From

mentary

all

of the flowers are treated quite conventionally, whilst

so that the repose of the

whole

From a painted china Vase. Although on the

fragmentary principle, the composition on this vase
is very elegant ; both forms and colours are beautifully

arranged and balanced.

is

Plate LII.

disturbed.

Various compositions on the fragmentary prinThe upper pattern on the left is from

ciple.

Plate XLV.

cloisonne

On

this

sheet

we have juxtaposed specimens

enamel, the other from

painted

china

vases.

the upper border on the continuof the two styles

ous line principle, and the lower border on the de;

tached or fragmentary

Plate LIII.

style.

From an
Plate XLVI.

The
a very elegant painted china Vase.
all over the vase, in as near as

From

red flowers are spread

may be

equilateral triangles, and they are all united

by the continuous stem, which winds

spirally

round

elegant Bottle, surface enamel on cop-

We

have here a natural treatment of flowers,

in which the limit of flat treatment may be said to
have been reached. The principle of composition is
per.

though the scheme of colouring

essentially Persian,

The elegant border in the

marks the neck of the bottle
where the swell of the lower half commences.

could only be Chinese.

centre of the plate

the vase.

Plate XLVII.

Plate LIV.

From

a painted china Vase, in the same style

and on the same principle as the various compositions
in cloisonne

Compositions
last plate,

enamel before described.

in

Plate XLVIII.

From

the flowing stem an.d treatment of

is after the Persian and Indian manner,

form of the leaves is exactly that used in
what we have called the fragmentary style.

the flowers
whilst the

enamel.

The
a surface-enamelled copper Bottle.
of
neck
the
forms
dragons
upper border with the
principle.
fragmentary
the bottle, and is on the
The lower part of the bottle is on the continuousstem principle.

style.

Plate LVI.

a copper Dish in the form of a shell

This composition

On

is

also

in

surface

the mixed

the radiating lines the flowers and orna-

ments are detached.

one continuous

In

the

From

china Bottle.

a painted

In this compo-

sition the dragon-flies are arranged triangularly, and

crossed by the large flowers similarly arranged.

intermediate spaces

from the base embraces

In the drawing of the flowers, also,

stein starting

all

the flowers.

we

see evidences of this

mixed

style:

Plate LVII.

From

some of the

a surface-enamelled copper Bottle.

flowers are Chinese in character, whilst others are

composition

drawn

vt

in the Persian

12

those of the

From

Plate XLIX.

From

to

Plate LV.

We recognise here

a painted china Bottle.

a mixed style

similar style

but from painted china basins.

and Indian manner.

iv well

is

filled

in

up.

the

fragmentary

style,

This

though

DESCRIPTION OF THE PLATES.

Plate LXIII.

Plate LVIII.
This

a painted china Jar.

From

ample of the detached

ment of both leaves and

style,

and

is

a fine ex-

in the treat-

is,

flowers, essentially Chinese.

various objects in cloisonne enamel. The

fragment at the top of the plate is from the rim of
which
a large dish, the black representing the part

From

is

The

pierced.

circular pattern

is

from a plate, the

The
admirably filled up.
many
are
there
lower specimen is of a style of which
examples, both in enamelled objects and painted
prinIt may be said to be a style without
china.
on
about
thrown
of any kind ; the flowers are
different spaces are very

Plate LIX.
In
a surface-enamelled copper Bottle.
further
a
have
we
plate
this
the principal border on
example of fragmentary composition, so well arranged

From

that the patterns

fit

into each

other,

and appear

The border below, composed of frets,

continuous.
treatment of the fret on
is singularly like the same
The attempt
America.
Central
the monuments of
to represent the

human face will be

readily recognised.

ciple

bethe ground as at hap-hazard, one set of triangles

well
so
generally
hind another, and yet they are
distributed that a pleasing effect

Plate LXIV.

The
various objects in cloisonne enamel.
most
the
of
one
centre composition on the plate is

a very elegant painted china Dish.

Plate

From

is

From

LXL

objects in cloisonne enamel.

specimen on this plate

The

centre

a very charming example

of continuous line in composition, and

in the management of the colours.

produced: an

permanent
effect, however, which cannot procure that
a compostudying
pleasure which we derive from
sition formed in obedience to law.

Plate LX.

From

is

is

most

The

artistic

essentially
elegant of the fragmentary class, and is
formed by
border,
The lower
Chinese in character.
way in
the
for
ornamental dragons, is remarkable

which the nondescript animals

which they float.

fill

up the space

in

three red

centres of the flowers accentuate the triangle ; the

green of the centre flower is recalled on the white

and the dark purple also on the flower on the

So also the white of the right-hand flower is
left.
the green bud at the base^
carried over on the left
the top, is also excessively'
at
mass
recalling the green
to the comperpendicularity
giving
valuable, as

flower,

Plate LXV.
of
Another example from a painted china Bottle,

pure Chinese composition.

imagine a more exquisite

position.
by caprice, than in the
enlivened
instance of order
present example.
The border on the lower portion of the plate is
one of those odd compositions so constantly met
with, and which would appear to have a meaning,
It is difficult to

but which

The

is difficult

European mind

From

a painted china Bottle.

is

Similar in cha-

racter to the last plate.

Plate LXVII.
Another of the same

class,

painted china.

Plate LXVIII.

to seize.

evidently intended to represent

and mouth can be deciphered.
nose,
the eyes,

centre portion

a face

for the

Plate LXVI.

The upper pora painted china Bottle.

the bottle, the
tion of the plate is from the neck of
portion is chiefly remarkable for the clever

From

lower

which the white of the large flower

tributed over the remainder of the space.

way
Plate LXII.
a most exquisitely painted china Bottle.
Although painted china, this is evidently in the
same style and of the same period as the bulk of

in

is dis-

From

the cloisonne enamels, the gold outline circling the

colours having the same harmonizing office as on the

enamelled vases. The very stiffness of line consequent on the process is here unnecessarily imitated
in the painting, where a freer treatment was at command. For balance of form and colour, and for
pure conventional treatment, this is one of the
finest

specimens we have met with.

Plate LXIX.
a painted china Vase.
of triangulation and the

From
ample

very fine ex-

continuous

stem

principle.

Plate LXX.
that
a painted china Bottle, similar to
in
bolder
much
but
described on Plate XLVI.,

From

treatment.

13

DESCRIPTION OF THE PLATES.

Plate LXXI.

LXX IX.

Plate

From

From a painted china Jar. The principle of

composition on this hottle is the same as on Plates
LXX. and XLVI., only the continuous line runs

is

horizontally instead of spirally round the bottle,

branches fitting into the shape to the top of the

the repeat

is

moved one-half a

flowers

bring the

into

pattern which shall

do

up the space,
attained by the Oriental
evenly

fill

division, so as

to

To compose a

triangles.

and thoroughly and

this,
is

and

not easy, and

is

base of the

the

and

line,

it is

instinct.

Plate

LXXX.

From a painted china Bottle. The observations

we have made on Plate LXXVIII. apply equally to
composition.

plate; the ornament in the centre of the

is

from the

stems and

entirely Chinese.

this

is

throwing up

accentuates the neck of the bottle.

and

plate

bottle,

where a change of colour of the ground only,

In colour, form

bottle,

Portions of the painted china Jar described on

last

This composition

One main stem winds round

only

Plate LXXII.

the

a painted china Bottle.

very interesting.

It

Indian in form and line,

is

Chinese only in

its

colouring.

lid of the jar.

Plate LXXXI.
Plate LXXIII.

From

on this plate

From
The upper border

painted china Vases.

a curious specimen of a continuous

is

stem running round the vase, and throwing off a

light and a dark flower side-by-side in the centre

a very large Cistern in cloisonne enamel.

This magnificent composition

and

is

is in

every

way Chinese,

the very perfection of conventional ornamenta-

tion, perfect in distribution of

form and colour.

of each flower

is

the Chinese

emblem

Plate LXXXII.

of the labyrinth.

From
Plate LXXIV.

From

a painted china Vase.

very fine ex-

ample of detached or fragmentary ornamentation.

In the upper
from the neck of the bottle, the
different patterns are united
but in the lower
pattern, from the swell of the bottle, the compositions are entirely fragmentary, and yet so contrived
that the ornament is very evenly distributed over
a painted china Bottle.

border, which

Plate LXXXIII.

is

From

Similar style to
a painted china Vase.
but more perfect; in the balance of the
masses, the embossed ground is formed of a con-

the

last,

tinuous line of volutes.

the ground.

Plate LXXXIV.

Plate LXXV.

From
is

in the

This composition

a painted china Bottle.

mixed

style.

The main stems

ous, and embrace all the flowers

are continu-

but there are dis-

tributed over the surface detached emblems, uncon-

From

This style is still

a painted china Vase.
compositions
are entirely de:
the
more fragmentary
very elegant.
it
is
yet
effect
;
tached in its general

As

before, the

embossed ground

is

continuous.

nected with the composition.

Plate
Plate LXXVI.

From

From

a painted china Vase.

composition on

a Basin

LXXXV.

The upper example is from

from a portion of a Vase.

painted china.
the lower

is

the continuous-stem principle.

Plate

Plate LXXVII.

LXXXVI.

four dragons
Portion of a painted china Dish
guarding the labyrinth form the subject of the composition, the flowers are most artistically arranged in
:

From a

composition

Pure Chinese

in character.

painted china Bottle.

in the fragmentary style.

the fragmentary style.

Plate LXXVIII.

From a

painted china Bottle.

Plate LXXXVII.

This composition

From

a painted china Bottle.

This

another

-o completely after the Persian and

Indian
manner, that it would require no other change than
to be coloured after the Indian or Persian scheme of

of those compositions such as are described on Plates

colouring to be an Indian or Persian work.

their

i-

14

LXXX. and LXXVIII., which

scheme of colouring.

is

are Chinese only from

DESCRIPTION OF THE PLATES.

Plate XCIV.

Plate LXXXVIII.

From
of the
little

painted china.

The upper composition

same Indian character

as the last plate

dish in the form of a star has very

much

is

the
the

From a painted china Jar. Composition on the

remarkable for the bold
fragmentary principle
treatment of the top and bottom of the jar.
;

The geometric arrangement of the

same character.

Plate XCV.

groups of flowers, without being rigidly accurate, yet

sufficiently so to properly balance, is most artistic.

From
sition

Another compo-

a painted china Vase.

on the fragmentary

principle.

Plate LXXXIX.
Plate XCVI.
This coma large painted china Cistern.
position is thoroughly Indian, like Plates LXXVIII.,

From

LXXX., and LXXXVII.

From
position

A singular coma painted china Bottle.

which the effect
way
in
remarkable for the

of the strong colour of the

ornament

is

softened by

the judicious treatment of the ground.

Plate XC.

From

a painted china Vase.

Plate XCVII.

bold composi-

tion in the Indian manner.

From a

Plate XCI.

From

painted china.

a small Tray,
flowers

fill

is

this

The upper

subject from

example

is

in slight relief.

space.

Plate XCVIII.
Inlaid bronze Dish.

Plate XCIX.

Plate XCII.

From

a painted china Vase.

The ornament in
The vase was cast

in a mould.

remarkable for the way in which the

up the

Composition on

painted china Bottle.

the continuous-stem principle.

A bold

composition

on the continuous-stem principle.

From a painted china Bottle,

principle.
continuous-stem
the

Composition on

Plate C.

Plate XCIII.

From

a painted china Bottle.

From a
There

is

much

hardly

be

of the Indian character in this example, particularly

only in the

in the detached flowers at the base of the subject.

balanced.

painted china Vase.

called

way

in

This example can

conventional
it is
ornament
which the leaves and fruit are
:

Ornament from an Indian Lacquer Box.

15

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