The porcelain of India has been ascribed, on the one hand, to Persia, and, on the other, to China or Japan, while a closer examination would have revealed the fact that, though having many qualities in common with them, it is yet radically distinct. It seems probable that in several processes which the Indian artist borrowed, he followed Japan, without allowing himself slavishly to copy. The art of India as represented in porcelain manifests itself in a high technical skill, in the most exquisite delicacy, and in a close attention to all the _minutiæ_ of detail. Indian figure-painting owes to these three qualities its superiority alike over those of Persia and of the extreme East. In the beauty consisting of delicacy and careful precision of finish, neither country makes even an approach to an equality with it. This truth is one, however, which can only be fully understood by actual comparison. A similarly painstaking care and conscientious literalness of interpretation characterize the floral ornamentation of Indian porcelain. Even when we find traces of Eastern inspiration in the Hindoo deep-blue or green, the Indian artist asserts his superiority in working out details. In many cases we detect more refined perception combined with a greater technical skill. A deep bowl has floral decoration in green, blue, and red, on a white ground, the flowers being alternately red and blue. Another has a ground of pale green, divided into sections by arches of gold, immediately under the outward curving lip. Upon this are laid larger sections of a rich red color, and filled with flowers. The contrasts are strong, and the effect is magnificent. In one respect the Indian artists are particularly skilful, and that is in the use of gold. It is employed generally with reserve, and always with rich effect. [Illustration: Fig. 61.--Washington’s “Indian” Porcelain Vases. Deep blue and gold.] A specimen of Indian porcelain (Fig. 61), of exceptional interest to Americans, as having once belonged to George Washington, formed part of the collection at Arlington House. It consists of a set of three vases, presented to Washington by Mr. Samuel Vaughan, of London. Their value, for our present purpose, is somewhat lessened by the fact that, though made in India, the vases were painted in London. In Siam, a style common to that country with India is prevalent, and is the result of imitating _cloisonné_ enamel in porcelain. The practice has had one result in both countries. It has led to a comparison of the native porcelain with native work in metal, and the originality of the decoration of the former has thus been substantiated and its source explained. [Illustration: Fig. 62.--Group of Chinese Porcelain. (From the Avery Coll.)] CHAPTER V. CHINA.