The morning news. [volume] (Savannah, Ga.) 1887-1900, 1898-07-06

of what, to the Western world, are not less
remarkable in themselves and as works of
Oriental art, than as evidences of Orien-
tai patience and industry.
The extreme hardness of jade adds to
the interest with which works in it are
viewed and is the first condition of
just estimate of the persevering skill de-
voted to the making of vases, cups, TASKS,
instruments of music, and incense burn
ers The white variety will scratch glass
and quartz, and the Chinese say that
steel and fire make no impression upon
it. 1t is worked with granular corundum,
of which emery Is variety Blondei
quotes the Able Grosier to the effect that,
as thousands of days do not suffice to fin
ism certain pieces of work, the artists of
the Chinese Emperor follow each other. in
succession in the palace workshops, and,
working day and night, have been known
to devote nine and ten years to a single
piece. This explains the value attached
to the personal gems of the Emperor, and
the appointment of special officer as
their custodian. In India time as spent
even more lavishly, and in these things
lies the key to a story woven around
Lahore jade box and tray at South Ken
sington, with perfora ions, paneIngs and
inlaying with precious stones. The tale
carries the piece through three genera
lions. Begun by one artist who labored
and passed away, the work was taken
from his hands by his. son, who gave it
his life and dying in turn left to his son
the triumph of it's completion, It is mar
yelously beautiful, and the value of jade
and jewels seems triflng beside the heredi-
tary skill and the devotional sacrifice of
successive lives.
The distinction previously drawn be-
tween the Chinese and Indian modes of
treating jade is very marked at South
Kensington. The Chinese give it no orna-
,s,1-
the tool of the carver; in the priceless old
Indian work of Delhi it is studded with
precious stones. The broad difference is
seen in the few specimens in the Edin-
burgh Museum already described. A ever
and cover with chain attached, and all
carved from a single piece of jade, fully
illustrates both Chinese taste and dex-
terity. and the soft beauty of the material
to which they are applied, A Chinese vase
of green jade as carved with runeinate
leaves in low relief, most eXquisitely fash
toned. In another Chinese piece a jade
panel sculptured in open work, with the
figure Of a dragon and scrolls is set in
frame of black wood carved and pierced.
The rule holds at Kensngton. Among the
Chinese not a jewel could be seen. There
are all the typical forms of Chinese art
a white kylin and cub, the former having
a perforated bail under her paws, and
many vases with carved ornamentation-
but not one lighted up with the CLEAN
of a jewel.
For contrast taken an Indian white Jade
box with panels of perforated green, and
set in the jade around top and bottom are
rubies and emeralds. A small oblong box
of white Jade Is inlaid with diamonds, ru-
bbes and emeralds set in gold. There are
dagger and saber handles and sheaths,
boxes rings. huka mouthpieces, back
scratchers, bracelets, buckles, amulets,
hooks, thumb rings, buttons, ornaments,
all. or nearly all jeweled, most frequently
with rubies A feather ornament is one
of the old Mogul pieces, and is made of
white Jade. 1t is decorated with rubles,
emeralds and crystals set in gold, and
with a pendent pearl at the tip. It is
splendid specimen of beautifully assorted
colors and elaborate workmanship. A
globular huka bowl is covered with net
work of rubes, emeralds, turquoises and
other colored stones an set in gold. DR.
Birdwood mentions these two pieces as the
choicest and grandest examples of this
work known, and in such blaze of Oriental
magnihcence the subject may be left.