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EXAMPLES
OF
C HINI SSE ORN1 VMENT
SELECTED FROM OBJECTS
IN THE
SOUTH KENSINGTON MUSEUM
AND °THEP COLLECTIONS.
)3Y
()WEN JONES.
ONE II UNDIZED PLATES.
LONDON:
S. tt T. GILBERT, 4 COPTHALL BUILDINGS, E.C.RACK OF THE BANK OP ENGLAND.
31DCCC141 VII.
LON DON :
Si CA:CM:WAYS A \ 1) WALUKN, Pms-trKs,
Castk St. Lektsta. Sq.
87h'lit9
PREFACE.
THE late war in China, and the Ti-ping rebellion, by the destruction and sack-
ing of many public buildings, has caused the introduction to Europe of a
great number of truly magnificent works of Ornamental Art, of a character
which had been rarely seen before that period, and which are remarkable,
not only for the perfection and skill shown in the technical processes, but
also for the beauty and harmony of the colouring, and general perfection of
the ornamentation.
t44 In the following Plates I have gathered together as great a variety of
these new styles of Ornament as have come within my reach, and I trust
that no important phase of this Art has escaped me.
I have had the advantage of access to the National Collection at South
Kensington and the unrivalled collection of Alfred Alorrison, Esq., of Fonthill,
who has secured the finest specimens from time to time, as they have
appeared in this country. From the collection of Louis Huth, Esq., exhibited
PREFACE. •
in South Kensington, and from many objects in the posstssion of M. Dizby
Wyatt, Esq., Col. De La Rue, Thomas Chappell, Esq., F. a Ward, Esq,,
Messrs. Nixon and Rhodes, and others, the bulk of the compositions have been
obtained. Ell\ thanks are especially due to Messrs. Durlacher and Mr. Wareham
for the liberal loan of many objects, which I have been thus enabled to copy
in the quiet of the studio.
I venture to hope that the publication of these types of a style of Orna-
ment hitherto little known will be found, by all those in the practice of
Ornamental Art, a valuable and instructive aid in building up what we all
seek,—the progressive development of the forms of the past, founded on the
eternal principles which all good forms of Art display.
OWEN JONES.
9 AIIGYLL PLACE,
July 15, 1867.
CHINESE ORNAMENT.
WE have long been familiar with the power of the Chinese to balance colour, but we
were not so well acquainted with their power of treating purely ornamental or conven-
tional forms ; and in the chapter in the Grananver of Oroament on Chinese Ornament I
was led, from my then knowledge, to express the opinion that the Chinese had not the
power of dealing with eonventional ornamental form ; but it, now appears that there has
been a period in which a School of Art existed in China of a very important kind. We
are led to think that this art must in some way have had :1 foreign origin ; it so nearly
resembles in all its principles the art of the Mohammedan races, that we may presume it
was derived from them. It would be no difficult task to take a work of ornament of this
class, and, by simply varying the colouring and correcting the drawing, convert it into an
Indian or Persian composition. There is of course, in all these works, something e...tentially
Chinese in the mode of rendering the idea, but the original idea is evidently Mohamtnedan.
The Moors of the present day decorate their pottery under the same instinct, and
follow the same laws as the Chinese obeyed in their beautiful enamelled ‘Its es. The
Moorish artist takes a rudely-fashioned pot or other object, and by a marvellous instinct
divides the surface of the object, by spots of colour, into triangles of proportionate area,
according to the form and size of the object; these triangles are then crossed by others,
01111$1titlit (NM A MAMA JIM
B
CHINESE ORNAMENT.
formed with spots of a different colour. All these spots are then united by a continuous
line, suggested by the peculiar form they have taken on the surface of the object. The
spaces thus created are filled in with other spots and lines, in the direction of, or in contrast
to, the leading lines, and are then still further filled up by s»taller spots, till the whole
presents an even tint or bloom.The Chinese in the works now under review must have proceeded in the sante way.
The position of the larger flowers was first fixed in the position most suited to develope
the peculiar form of the vase, and the whole surf ice was set out by these flowers into
symmetrical proportional arms; hem law and order were abandoned, and the instinct andcaprice of the artist came 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 size, either as flowers or large leaves, were put in, springing from the continuous
line; these secondary masses also balance triangularly, but in a less rigid manner than
with the larger flowers: the ►roce.s.s is continued by the introduction within the inter-
mediate spaces of still smaller forms, butts, or stalks, till the whole is filled up, and repose
is obtained by evenness of tint. This method of composition is followed in all the Oriental
styles of ornament : what is peculiar to the Chinese, especially in their large enamelled
objects, is the large relative size of the principal flowers which mark the triangulation of
the areas ; and it will be seen throughout the plates how cleverly this apparent dispro-
portion of the principal points of the composition is got over by the detail on the surface
of the flower, so that the desirable comaess of tint is preserved.
This method of having fixed symmetrically arranged spots, round which run leaves
and branches, was characteristic of Roman Ornament, which generally consisted of a scrollgrowing out of another scroll encircling a flower.
(
Romp Ornnwent.
The bulb at the point of junction of the volutes was got rid of during the Byzantine
period ; and in the Arabian and Moresque, and Oriental styles generally, the end of thescroll becomes flattened out into the form of a leaf; the flowers flow off the continuousstein. In the Rentki2wince style the peculiarity of Roman Ornament reappeared, but much
more sparingly as other elements were introduced : it was subordinate, but still everpresent ; every volute is terminated by a flower. In the Persian, which comes much
6
CHINESE ORNAM ENT.
nearer our present style, the flowers are placed, not at the end of a volute, but at the
junction of two tangential curves; so in the Indian style : in neither of these styles is the
system of triangnlation so rigidly carried out : it is always the guiding prii n but it
is more artistically concealed. In the Chinese ornamentation, triangulation is the main
feature, the geometrical arrangement is absolute and undisguised, but softened by a free
treatment of the intermediate spasms left by the triangulation.
An examination of the plates will satisfitetoray prove, that in the style under discussionthe principles advocated in the Gramniur of Ornament, as derived from natural laws, and
found in all the (Mental styles, are here also universally obeyed.We say by Proposition 10 of the Grmitniar of Ornament :
" llarmony of form consists in the proper balancing and contrast of the straight, the inclined,and the curved."
By Proposition 11 :
" In surface decoration all lines should flow out of a parent stein. Every ornament, however
distant, should be traced to its branch and root."
By Proposition 12
" All junctions of curved lines with curved, or of curved lines with straight, should be tan-gential with each other."
By Proposition 13 :
" Flowers, or other natural objects, should not be used as ornaments; but conventionalrepmentations founded upon them, sufficiently suggestive to convey the intendedimage to the mind, without destroying the unity of the object they are employed todet-orate."
We shall find that in this style Proposition 10 is most completely obeyed.Proposition 11 also, with this proviso, that we have two well-marked styles ; one
entirely in accordance with Proposition 11, and the other where, in the same composition,
there are several centres; but in all cases the leaves and flowers can be traced to their
branch and root, though in what we have ventured to call the fragmentary style there
are many tooth in the same composition.Proposition 12 also here finds its full exemplification. In some of the enamelled work
there is a stiffitess at the point of junction of two curves, but it is always the result of
imperfect execution. The intention always is to make them tangential.
The examples are not so apparently in accordance with Proposition 13. We think in
this style the Chinese have rvaehed the extreme limit of the representation of natural
objects. They have, however, in none of our examples, by light or shade, endeavouredto express relief, though in many of the examples it is suggested both by colour andform ; indeed, we think that the chief value of the publialtion of this style of ornamentlies in its suggestive character it shows how unnecessary it is to be content with the
stock forms ; and that many natural objects may be conventionally* rendered in or ►a-
mentation without overstepping the bounds of propriety. We repeat, however, that the
1. The CO'lltillth011s•,•tern Sy4etil •
9 P3. The Fluzsziematy System imerspaeing.
Chinese have in thisthat a more moderate
The compositionsdiagrams.
CHINESE ORNAMENT.
style reached the very limit of such po.sible representations, and
suggestion of relief would be more artistic.
x% ill be found to range under the three systems represented in the
Q. Ftngme ► srn,. SIsteri ► cmitetl.
The scheme of colouring of the Chinese is peculiarly their own. They deal principallywith broken colours : pale blue, lade green, and pale pink for the masses dark pink,(lark greein, purple, and yellow and white, in much smaller quantities. There is nothingmule or harsh in any of their compositions ; the eye is perfectly satisfied with the ixtlanceand arrangement of both form and colour: but there is an absence of that purity in thedrawing which we find in the works of the ancient Greeks, Arabs, and Moors, and even inthe works of our own day, of all the Mahommedan races.
8
DESCRIPTION OF THE PLATES.
amegat.4127
PLATE
Ornamental Title, arranged from a painted chinadish.
PLATE II.
This plate is taken from a very tine Vase of blue-►nd-white china. The large flowers are arrangedall over the SUrfi►ee of the Vase in equilateral tri-angles,and are united by one continuous main stem,throwing off smaller masses arranged triangularly.The introduction of the ground colour in the centreof the flowers is very valuable, and materially helpsthe repose of the composition.
PLATE III.
This plate is arranged from a blu ►-and-whitechina Basin, and shows half the circumferentxt ofthe basin developed. The four pear-shaped Massesare very effeetive, The etched outline flowers onthe dark ground are after the Indian manner; soalso is the general arrangement of the pendantornament, except that the scrolls have their , ter-minations so peculiarly Chinese.
PLATE I V.
This plate is taken front a large Vase, similarin general arrangement to that from which Plate Ir.is taken, but the forms of the Ornament are muchless pure. The composition consists of three batsplaced triangularly, erosled by three flowers similarlyarranged in t ho opposite direction : these are allunited by a continuous stem, throwing of othermasses of conventional form.
PLATE V.
A similar composition on a dark ground. Hererepose is obtained by the etching in the gnsund-colour, on the leaves and flowers.
PLATE VI.
Part of a pendant Ornament round the top of amagnificent bloc-and-white china cistern. In thoupper border the lines run in one direction round
the bowl. In the lower, one continuous Mill stemruns through the general forms, embracing all theflowers, which are geometrically arranged. Thebroad blue line which forms the boundary of thecomposition is also continuous; and in the formof a pendant arch recalls a form which is commonto the Arabian, Persian, Moresque, and indeed allOriental art. The trtsatment of the shading of theflowers is also Indian in character.
PLATE VII.
From a blue-and-white china Dish. Again inthis example we see a Persian influence in theflowers round the edge, and in the form of the •x-ternal rim of the dish.
PLATE VIII.
From a blue-and-white china Bottle. Here wehave Cant 11111011$ SitI ►S running round the bottle,throwing off flowers right and left, fitting into eachother as it were, and yet triangulation is neverlost sight of.
PLATE IX.
Borders from blue-and-white china Bottles
Pun X.
Borders from Vases in eloisonntS enamel. Thesame instinct of triangulation may be observed inthe colouring of the ornament.
PLATE XI.
The same principles which are exhibited inPlato II. are to be seen in this specimen fromBowl in cloisomni enamel. The large flowers arearranged in triangles, crossed by smaller flowers inthe opposite direction, and all eonnected by a con-tinuous stem throwing off leaves and stalks to fillup the ground ; all geometrically arranged, andyet not iu a manner so apparent as to interferewith the freedom of the composition. The systemof triangulation is 4III further kept up in thecolouring. On the left the purple flower is the
9C
DESCRIPTION OF TIIE PLATES.
apex of a triangle, with two red flowers for n base(the left one not being contained on the plate).In the same way, on the right of the plate, thelight green flower is the apex of a triangle, withtwo dark-grecn flowem at the base. The whiteflower is the centre of the composition, and standsalone, and yet its centre lies between two small redflowers which form the base of triangle having11 green limier for the apex.
PLATE X II.
Portion of the circumference of a large Bowl incloisonne. enntnel. This composition is repeatedtwice round the bowl, and the lines all spring fromthe centre flower. Although not on the formalprinciple of the composition last describes], the samesystem of triangulation of form and colour is ap-parent at a glance.
PLATE XIII.
Fmt ► are I neense-burner in cloisonné enamel.The flowers are arranged over the surface in equi-lateral triangles, and are crossed by stems withvolute terminations, also triangular, but !es formal,which till up the interstices.
PLATE XIV.
This plate represents half the circumference ofa Vase in cloisonné enamel,. The arrangement ofform and colour is tined artistic.
PLATE v.
From a cloisonné-enamelled Bowl. This co ► -►ositio ► is similar in principle to that of Plate XL,but the large floweis are more perfect in form and
PLATE XVI.
Bonier& from similar Vases.
PLATE XVII.
This singular composition is from the handle ofa Standard in cloisonné enamel, the Vlach groundrepresents the portion which is pierced (a jour).A main stem winds round the staff, through thelarge flowers, which are, as usual, triangularlyplaced.
PLATE XVII I .
From a painted china Bottle. The generalform of this border, like that on Plate VI., has avery Indian outline, The flowers here are also oom-
posed triangularly, and are all united by one mittstem, which runs round the circumference of theBottle.
PLATE. X TX.
From a china Dish, the pattern being stampedor engntved on the clay before colouring. This is aspecimen of a style of ornament of which there areto be found immense varieties. It is probably muchmore modern than the specimens already described.We lu still the instinct of triangular composition,but it is not so decidedly marked; the centre floweroccupies more relative space, and the stems out ofwhich the flowers spring, instead of flowing onwardsin a series of volutes, often re-enter and return uponthemselves. This principle is essentially Chintwhilst the flowing line is common to the Arabian,More cue, Persian, and Indian styles. The borderon the edge of the dish is almost Greek.
PLATE XX.
The same observations will apply to this plate,which is taken from a painted china Dish. Al-though all the groups are united, they do not, as inthe finer examples we have examined, proceed fromone centre. In this example, also, the pattern isindented, showing that probably some mechanicalmeans WOCC employed to produce it ; whilst on suchVams as Plates I I., I I I., and V., they were freelydrawn by the hand without any mechanical aid.
PLATE XX
A series of Borders from various objects, in blueand white china.
PLATE XXII.
Centre of a Plate and various Diapers, fretsobjects in blue and white china. The border onthe upper portion of the plate is an intemsting ex-ample of the conventional representation of naturalflowers symmetrically arranged ; after the Pemianmanner.
['um XXIII.
From a Bottle of blue and white china ; at veryfine example of symmetrical arrangement : it is alsointeresting as showing the limit of shade and reliefM the representation of flowers—a limit which theChinese constantly reach, but never exceed.
PLATE X X IV,
From a blue-and-whits china Cistern. This Li 3
noble composition, on the same principle as thosealready described. The artistic introduction of the
DEsCRWTION OF THE PLATES.
alike lines on the dark ground, and the outline todowers and leaves on the white ground, so as ineach case to soften the transition, is worthy ofremark.
PLATE XXV.
From objects in blue-and-white china.
PLATE XXVI.
From a blue-and-white china I3ottle. Thiscomposition, like that of Plate XXIII., is a fineexample of the conventional representation of naturalflowers ; but for the peculiar character of the ter-mination of some of the leaves,• it would pass forIndian or Persian.
PLATE XXVII.
From various objects in blue-and-white china.The centre composition and the borders at the topof the plate are very Persian in character andarrangement.
PLATE XXVIII.
From a blue-and-white china Bottle. Thiscomposition is peculiar, but not inelegant ; notwith-standing the fragmentary nature of the compositionthe muses are well balanced, and the repose of thewhole is not destroyed.
PLATE X X IX.
The inside and outside of a very finely executedBowl in cloisonn6 enamel. On the inside of thebowl we have a conventional representation of theland, the sea, and the air. The land by the floweron the island, the sea by the horses disporting them-selves in the waves, and the air by bath and birdsfloating in cloud&
PLATE XXX.
From a very beautifully executed Basin incloisonn6 enamel.
PLATE XXX).
From Vases in cloisonn6 enamel.
PLATE. XXXII.
From a square Vase in cloisonmS enamel. Theoutline of this vase is very elegant, and the compo-sition of the ornament contrasting with the curvedlines is very tine. The pattern on the lower halfof the plate is from the inside of the lip.
PLAT': X X X III.
From a similar Vase, but less perfectly executed.The filling up of the bide of the vase is very fine incomposition. The pattern on the inside of the lipis less perfect than that on the last plate.
PLATE X XXIV.
From a similar Vatte, but of the round form.The upper portion of the plate is from the inside ofthe lip.
PLATE X X X V.
From a Bowl in eloisona enamel. In thecentre pattern we have a fine example of continuityof leading stem.
PLATE XXXVI.
From a large Jar in eloisomi6 enamel. Thestyle of this composition is essentially Chinese ;though very brilliant in colouring, it is much lessperfect in art than the compositions in which werecognise a foreign influence.
PLATE X XXVII.
From a Bowl in cloisonn6 enamel. This compo-sition, like the but, is entirely Chine in character.
PLATE XXXVII1.
From a Dish in cloisonné enamel. This also isessentially Chinese in character. Four bats withoutspread wiugt, and connected at their extremities,make up the composition : in the centre is a kind oflabyrinth.
PLATE XX X I X.
Fragments from cloitiona-enamelled Vases,showing various applications of the fret patterns.
PLATE XL
From Vases in cloisonné enamel. The upperborder is composed of bats with outsmad wings.The pattern on the lower half of the sheet does notappear to be based on any principle, yet evenness oftint is very cleverly obtained.
PLATE X LI.
From a very beautiful painted china Bottle; butfor the peculiar Chinese twist to the leaves anda.crolls it might pass for Indian lacquer-work.
PLATE XLIL
Also from a painted china Bottle. This composi-tion, unlike the last, is essentially Chinese; not onlythe flowers and leaves have the peculiar Chin ese
11
DMRIPTION OF 111E PLATES.
character, but the fragmentary style of the composi-tion, starting from t1 flowers, yet linked together, ismuch lets artistic than the continuous stem seekingout and embracing all the flowers symmetricallyarranged.
PLATE X1.111.
From a gourd-shaped painted china Vase. Wehave here an example of the continuous-stmt prin-ciple referred to in the last plate.
PLATE XL1V.
From a painted china Bettie. This again is aspecimen of what we have ventured to call frag-mentary style. The battle principle of triangulationis observed in this style, and the patterns springingfrom different centres fit into each other in a mar-vellous manner, so that the repose of the whole isnot disturbed.
PLATE XIX.
On this sheet we have juxtaposed specimensof the two styles; the upper border on the continu-ous line principle, and the lower border on the de-tached or fragtne ► tary style.
PLATE XLVI.
From a very elegant painted china Vase. Thered flowers are spread all over the ease, in as near asmay be equilateral triangles, and they are unitedby the continuous stem, which winds spirally roundthe vase.
PLATE XIXII.
From s ► painted china Vase, in the Kittle styleand on the same principle as the various compositionsin cloisonné m ► nel before described.
PLATE X 'mfr.From a painted china Rattle. We recognise here
a mixed style; the flowing stem and treatment ofthe flowers is after the Persian and Indian manner,whilst the form of the leaves is exactly that used inwhat we have called the fragmentary style.
PLATE XL1X.
From a copper Dish in the form of a shell; surfaceenamel. This composition is also in the mixedstyle. On the radiating lines the flowers and orna-ments are detached. In the intermediate spacesone continuous stem starting from the NW embracesall the flowers. I u the drawing of the flowers, also,we see evidences of this mixed style : some of theflowers are Chinese in character, whilst others aredrawn in the Persian and Indian manner.
PLATE 1..
From a very beautiful painted Vase. Again wehave this mixed style in a very marked manner ;the composition is of the detached character, startingfrom many centres, yet all linked together. Someof the flowers are treated quite conventionally, whilstahem have a much nearer approach to nature. Thelight-running ground pattern, which is indented onthe vase before painting, is continuous all over thevase .
I.ATF. LI.
From a painted china Vase. Although on thefragmenitary principle, the composition on this vaseis very elegant ; both forms and colours are beau-tifully arranged and balanced.
PLATE 141.
Various composition , on the fragmentary prin-ciple. The upper pattern on the left is fromcloisonn6 enamel, the other from painted chinavases.
PLATE LI I I.
From an elegant Bottle, ► face enamel on cop-per. We have here a natural treatment of flowers,in which the limit of flat treatment may be said tohave been reached. The principle of composition isew•ntially Persian, though the scheme of colouringcould only Iv Chinese. The elegant border in thecentre of the plate marks the neck of the bottlewhere the swell of the lower half commences.
PLATE LI V.Compositions in similar style to those of the
last plate, but. from painted china basins.
PLATE I.From a surface-enamdled copper Bottle. The
upper border with the dragons forms the neck ofthe bottle, and is on the fragmentary principle.The lower part of the bottle is on the continuous-stun principle.
PLATE I XI.
From a painted china Bottle. In this compo-sition the dragon-flies arc arranged triangularly, andcrossed by the large flowers similarly arranged.
PLATE LVII.
From a surface-enamelled copper Bottle. Thiscomposition is in time fragmentary style, thoughvery well tilled up.
12
DLSCRIPTION OF THE PL RTES
PLATE IN I I I.
From a painted china ,tar. This is a fine ex-ample of the detached style, and is, in the treat-ment of both leaves and flowers, ementially Chinese.
PLATE LI X .
From a surface-enamelled copper Bottle. Inthe principal border on this plate we have A furtherexample of fragmentary composition, so well arrangedthat the patterns fit into each other, and appearcontinuous. The border below, composed of frets,is singularly like the same treatment of the fret onthe monuments of Central America. The attemptto represent the human face will be readily recognised.
Pt. ‘TE LX.
From a very elegant painted china Dish.
PLATE LXI.
From objects in cloisonn6 enamel. The centrespecimen on this plate is a very charming exampleof continuous line in eomposition, and is most artisticin the management of the colouN. The three redcentres of the flowers accentuate the triangle ; thegreen of the centre flower is recalled on the whiteflower, and the dark pnrple also on the flower on theleft. So also the white of the right-hand flower iscarried over on the left ; the green bud at the base,recalling the green mass at the top, is also excessivelyvaluable, as giving perpendicularity to the com-position. It is difficult to imagine a more exquisiteinstance of order enlivened by caprice, than in thepresent example.
The border on the lower portion of the plate isone of those odd compositions so constantly metwith, and which would appear to have a meaning,but which is difficult for the European mind to seize.The centre portion is evidently intended to representa face; the eyes, nose, and mouth can be deciphered.
PLATE LX U.
From a most exquisitely painted china Bottle.Although painted china, this is evidently in thesame style and of the same period as the bulk ofthe cloisonn6 (gnnels, the gold outline circling thecolours having the same harmonizing office as on theenamelled vases. The very stiffness of line conse-quent on the process is here unnece.sarily imitatedin the painting, where a freer treatment was at com-mand. For balance of fonn and colour, and forpure conventional treatment, this is one of thefinest specimens we have met with.
PLATE
From various objects in cloisonn6 enamel. Thefragment at the top of the plate is from the rim ofa large dish, the black representing the part whichis pierced. The circular pattern is from a plate, thedifferent spaces are very admirably filled up. Thelower trpecimen is of a style of which there are manyexamples, both in etuunelk1 oljeets and paintedchina. It may he said to be a style without prin-ciple of any kind ; the flowers are thrown about onthe ground as at hap-hazard, one set of triangles be-hind another, and vet they are generally $4 welldistributed that a pleasing effect is produced : an
effect, however, which cannot procure that permanentpleasure which we derive front studying a compo-sition formed in obedience to law.
PLATE TA I V.
From various ol ► ects its cloisonn6 enamel. Thecentre cornposition on the plate is one of the mostelegant of the fragmentary clam, and is essentiallyChinese in character. The lower border, formed byornamental dragons, is remarkable for the way inwhich the nondescript animals fill up the space inwhich they float.
PLATe LX V.
Another example from a paintes1 china Bottle, ofpure Chinese composition.
PLATE LX v I.
From a painted china Bottle. Similar in cha-racter to the last plate.
PeaTe LXVII.
Another of the same cluss, painted china.
PLATE LX V 111.
From a painted china Bottle. The upper por-tion of the plate is from the neck of the bottle, thelower portion is chiefly remarkable for the cleverway in which the white of the large flower is dis-tribute(' over the remainder of the space.
PLATE 1,X I X.
From a painted china Vase. A very fine ex-ample of triangulation and the continuous - stemprinciple.
PLVTE LXX.
From a painted china Bottle, similar to thatdescribed on Plate XLVI., but much bolder intreatinmt.
D 13
DESCRIPTION OF THE PLATES.
PLATE !ANL
From a painted china Jar. The principle ofeomposition on this bottle is the same as on PlatesI,XX. and X only the continuous line runshorizontally instead of spirally round the bottle, andthe repeat is moved one-half a division, so as tobring the flowers into triangles. To compose apattern which shall do this, and thoroughly andevenly till up the space, is not easy, and is onlyattained by the Oriental instinct.
PLATE I.XXII.
Portions of the painted china Jar described onthe last plate; the ornament in the centre of theplate is from the 1W of the jar.
PLATE LX X I 1 I.
From painted china Vasm The upper borderou this plate L4 a curious specimen of at continuousstem running round the vase, and throwing off alight and a dark flower side-by-side; in the centreof each flower is the Chinese emblem of the labyrinth.
PLATE LXX 1 V.
From it painted china Bottle. In the upperborder, which is from the neck of the bottle, thedifferent patterns are united ; but in the lowerpattern, from the swell of the bottle, the composi-tions are entirely fragmentary, and yet so contrivedthat the ornament is very evenly distributed overthe ground.
PLATE ',X X V.
From a painted china Bottle. This compositionis in the mixed style. The main stems are continu-ous, and embrace all the flowers ; but there are dis-tributed over the surface detached emblems, uncon-nected with the composition.
PLATE LXXVI.
From a painted china Vase. A composition onthe continuous-stem principle.
PLATE IA
From a painted china Bottle. A compositionin the fragmentary style. Pure Chinese in character.
PLATE LXXVI I I.
From a painted china Bottle. This compositionis so completely after the Persian and Indianmanner, that, it would require no other change thanto be coloured after the Indian or Persian scheme ofcolouring to be an Indian or Persian work.
14
PLATE LXXIX.
From a painted china Bottle. This compositionis very interesting. One main stem winds roundthe base of the bottle, throwing up stems andbranches fitting into the shape to the top of thebottle, where a change of colour of the ground only,accentuates the neck of the bottle. In colour, formand line, it is entirely Chinese.
PLATE LXXX.
From a painted china Bottle. The observationswe have made on Plate LXXV 11 1. apply equally tothis composition. It is Indian in form and line,and is Chinese only in its colouring.
PLATE LXXXT.
From a very large Cistern in cloisonmS enamel.This magnificent composition is in every way Chinese,and is the very perfection of conventional ornamenta-tion, perfect in distribution of form and colour.
PLATE LX XX IL
From a painted china Vase. A very fine ex-ample of detached or fragmentary ornamentation.
PLATE LXXXIII.
From a painted china Vase. Similar style tothe hut, but more perfect ; in the balance of themasses, the embossed ground is formed of a con-tinuous line of volutes.
PLATE LXXXIV.
From a painted china Vase. This style is stillmore fragmentary: the compositions are entirely de-tached in its general effect; it is yet very elegant.As before, the embossed ground is continuous.
PLATE I.XX XV.
From 'minted china. The upper example is froma Basin ; the lower is from a portion of a Vase.
Pun: LX XXVI.
Portion of a painted china Dish: four dragonsguarding the labyrinth form the subject of the com-position, the flowers are most artistically arranged inthe fragmentary style.
PLATE I.X XXVII.
From a painted china Bottle. This is anotherof those compositions such as are described on PlatesLXXX. and LX XVI I I., which are Chinese only fromtheir scheme of colouring.
DESCRIPTION OF TIIE PLATES.
PLATE LX X X V111.
From Wanted china. The upper composition isof the same Indian character as the last plate ; thelittle dish in the form of a star has very much thesame character. The geometric arrangement of thegroups of flowers, without lx:ing rigidly accurate, yetsufficiently so to properly balance,is most art6tk.
PLATE LXXXIX.
From a large painted china Cistern. This com-position is thoroughly Indian, like Plates I,XXv I 1 I.,LXXX., and I.XXXVIi.
PLATE XC.
From a painted china Vase. A bold composi-tion in the Indian manner.
PLATE XCI.
From painted china. The upper subject fromsmall Tray, is remarkable for the way in which the
flowers fill up the space.
PLATE XCII.
From a painted china Vase. A hold compftitionon the continnous-stem principle.
PLATE XCIII.
From a ix∎inted china Bottle. There is muchof the Indian character in this example, particularlyin the detached flowers at the base of the subject.
PLATE XCIV.
From a painted china Jar. Composition on thefragmentary principle; remarkable for the boldtreatment of the top and bottom of the jar.
PLATE XCV.
From a painted china Vase. Another compo-sition on the fragmentary principle.
PLAT): XeVf.
From a painted china Bottle. A singular com-position ; remarkable for the way in which the effectof the strong colour of the ornament is softened bythe judicious treatment of the ground.
PLATE XCV11.
From a painted china Bottle. Composition onthe continuous-stein principle. The ornament inthis example is in slight relief. The vase was castin a mould.
P LATE X C VIII.
Inlaid bronze Dish.
PLATE XCIX.
From a painted china Bottle. Composition onthe continuous-stem
PLATE. C.
From a painted china Vase. This example canhardly be called ornament : it is conventionalonly in the way in which the leaves and fruit arebalanced.
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