reign of Yung-Cheng (1723-1735) the diverse styles seem to
have been finally struggling for mastery. Yung-Cheng was an ardent
collector of ancient Chinese porcelains, and he sent to King-te-chen
specimens of the most ancient wares, whether of pottery or porcelain, to
be reproduced, while at the same time he and his court patronized the
wares in foreign styles and colours (Japanese and European.)

The struggle continued practically to the end of the 18th century, but
in spite of certain brilliant inventions, such as the "iron-rust" and
"tea-dust" glazes of the reign of K'ien-lung in harmony with old Chinese
effects, what we must regard as the inferior decorative style triumphed,
and we see the gradual disappearance of the ancient methods in favour of
(1) wares of a beautiful white body decorated only with on-glaze
colours, principally those of the _famille rose_, and (2) a very large
production of inferior wares, made in European shapes and decorated with
on-glaze painting and gilding to suit the European taste of the 18th
century.

This "armorial" china, so much of which was once foolishly ascribed to
Lowestoft, has little to commend it. The material is seldom of the best
quality, and the Chinese rendering of European arms and crests, or stiff
copies of European engravings surrounded by quasi-oriental borders of
diaper, &c., does nothing to recommend it. A great deal of this ware,
though manufactured at King-te-chen, was decorated at Canton, and the
school of pottery decorators founded there by reason of this export
trade also produced a certain number of pieces in pure Chinese taste,
especially some of the ruby-backed plates and dishes and the small cups
and saucers decorated with deftly-painted designs of cocks, peonies, &c.

It must be pointed out that the great change implied in the replacement
of patterns painted in blue under the glaze by those painted in colours
over the glaze profoundly influenced the style of painting. In the
earlier wares the treatment is bold and vigorous as becomes true pottery
colour, and the softening of the colour by the melting glaze adds to the
artistic charm of the result. Painting on a fired glaze is like painting
on glass--fine lines, delicate drawing, and skilful stippling or
cross-hatching are just as natural in this method as they are impossible
or uncertain in the other. Naturalism of rendering takes the place of
conventional decorative treatment, and elaborate minuteness of fin