An apparently fanciful grouping of Chinese porcelain originated with Albert Jacquemart and Edmond Le Blant. They divide it into four families, the Archaic, the Chrysanthemo-Pæonian, the Green, and the Rose: Céladon, Crackle, White, Blue, Turquoise-blue, Violet, Bronze, and Lacquer are classed as exceptional. The Chrysanthemo-Pæonian is so called from the prevalence of chrysanthemums and pæonies on the ground, and the Green and Rose from the predominating colors. A large proportion of the household ornaments of China, garden vases, and table-wares belong to the first of these classes. Blues, red, and gold mingle with each other, and are relieved by green, and sometimes black. Red and blue grounds will be found with designs in white, green, and yellow; or a rich gold will be overspread with green, pale buff, and white; or the ground itself will be white, on which are designs in black, filled with gorgeous flowers. These are the works of artists whose skill and ingenuity are almost as limitless as their fancy. There is no law but the harmony demanded by a florid taste, no aim but effect. [Illustration: Fig. 96.--Green Family. Ming Dynasty. (F. Robinson Coll.)] Green was the imperial color under the Ming Dynasty (1368), and the greater portion of the ornamentation of this family has either a religious or a political significance. The bright copper-green lies perfectly transparent upon the pure white paste. We have already seen the eight immortals riding upon clouds, in a piece of blue-and-white, and the design is repeatedly met upon pieces of the Green family. It is here, in short, that we have the best opportunity of studying the religious system and symbols of China. Dragons are represented with diabolical ferocity; cranes, kylins, fong-hoangs, are intermingled with floral designs, in which are asters and other flowers, and insects. On the sacrificial cups of this family, dragons with forked tails climb the handles, or hang head downward from the lip, while a hideous dragon-head is introduced in the sides. From these grotesque and terrible figures we turn to the pieces of a historical character. The scenes depicted are chiefly taken from the early history of China, which was as prolific a source of ideas to the Chinese artist as classical history and legend to the poets of Europe. Vases of this character are also deserving of study, as illustrating to a farther extent than was done in the Introduction that aspect of the potter’s art in which it appears as the handmaid and illuminator of history. The Chinese artist is rarely seen to better advantage than when painting vases of this family. With a rich palette comprising the prevailing green, blues of every shade, violet, red, yellow, gold, and black, he produces effects of the most charming beauty. When green is used as a ground color, as in the case of the Kien-long vase referred to (Fig. 93), either it covers the entire surface, or reserves are left for the landscape or trees. In the former