clever in imitation with fraudulent intent, many other kinds are in all likelihood really unknown beyond the bounds of the Celestial Empire. There are, besides the works of such an artist as Thang-kong, exceptional pieces of the Tai-thsing Dynasty, especially those of the Kien-long period, during which Thang-kong lived, that are in every way admirable. One example of this period (Fig. 93) has a ground color of light green, overrun with a graceful floriated design graved in the paste, and having reserved panels, in which are a landscape on one side and a tree and bird on the other. In another the ground is a delicate pink, and the figures are raised. Examples might be multiplied to any extent, which show that, however faulty the later specimens may be, there is no lack of variety. The artists resorted to every style of decoration within the reach of their skill, and some exceedingly beautiful porcelain of various families will be found to belong to the Kien-long period. [Illustration: Fig. 93--Kien-long Green Porcelain Vase. (J. C. Runkle Coll.)] The Tai-thsing Dynasty is also marked by the production of the vases called “Mandarin,” usually, but in our opinion mistakenly, ascribed to Japan. The history of China at this time is for our present purpose valuable. So long as the two dynasties were at war, art was neglected; and we therefore find that, for several years prior to the establishment of the Tartar Dynasty, the manufactories gave out no works of note. When the Tai-thsings were firmly seated on the throne the art received a new impulse. While Khang-hi reigned (1661-1722), Thang-ing-siouen was director of the imperial factory, and made two yellows, a green and blue. He was succeeded in 1722 by Nien, who was equally successful, and in 1736 was associated with the artist Thang-kong before mentioned. After Kien-long, the fourth of the Tartar Dynasty, the art went rapidly downward. It will be observed from these few facts that when the decline of Chinese art is spoken of as beginning with the eighteenth century, allowance must be made for the check experienced under Kien-long (1736-1795). When he ascended the throne there were, according to M. Julien, fifty-seven manufactories of porcelain in China, of which seven besides that of King-teh-chin were in the province of Kiang-si. Whatever condition art may have been in, there was plainly no stagnation in production.