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 PORCELAINIBRBCORATED

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 soufié. 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 be deceived by it. He 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 pare and suitably tinted his glaze, while all engaged

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