The times. [volume] (Washington [D.C.]) 1897-1901, 1900-08-19


ton of the potteries, porcelain wares, and
bronzes of the world. recently opened tc
public view in the National Museum
must afford intense qualification. Per-
haps the most striking part of the col
lection is that devoted to the illustration
of the ceramic arts of the japanese and
Chinese, together with the lacquer and
bronze work Of those peoples.
1t would seem as though the poetry ant
Imagination of these Orientals were ef-
hibi,ed principally in their tea sets an
mantel ornaments. The grace and deli
cacy of the poreelains, with their dainty
paintings Of delightfully."- impossible scene:
and people. are mingled with bronzes rep
rssenting the most hideous monsters, the
very sight of which one would think
would be enough TO brighten the Chinese
or japanese child into commissions.
Then there is a wonderful set of Geisha
girls in earthenware, in the representation
of whom is displayed a naive humor and
fidelity TO life which would make the for
tune and fame of any Occidental artist.
There is in NEST of these works of the
Acknowledged people of the East a wonder
full miDgling of the graceful and grotesque,
which is to be seen notably in the Japan
csc bronzes. There is one magnificent
piece representing a bird in which the
lines and contours are the perfection Of
grace and beauty: and again are seen
hideous dragons and geological monstTosi-
ties which might have been suggested in
the illusions Of an opium dream.
The richness and daintiness Of the en-
amels, too, present most marked con-
trast to the work of the Western nations,
and one feels that the qualities of imagi-
nation and fancy which are bestowed by
Europeans and Americans upon literature
and the more ambitious Of the fns arts
are manifested by the Chinese and Japan
csc in their brOnzes and potterieS.
The history of the ceramic art, which
has produced so many marvels Of human
fancy and ingenuity, has lately become the
subject Of general investigation, and much
interesting data has thus been obtained.
In the first place, all scholars know the
word ceramic" itself comes from Greek
term signifying "potter's earth" the cor
responding descriptive word from the Latin
being "ictite'' from hngo TO form" The
remains Of clay vessels found in every
quarter of the world, moi excepting those
discovered in this country, remnants Of
the arts OF the aboriginal inhabitants,
show this art 10 be among the first en-
pioyed by humanity. The earliest earth
enware vessels were evidently first baked
IL the sun, and afterward attaining greater
hardness and durability by use oyer fire,
the process of submitting the clay itself to
this influence for the express purpose Of
hardening it came into vogue.
By the ancient Egyptians the CERAMIC art
was attributed to the gods, which shows
that its. origin must have been of q date
preceding their records. Among the Egyp-
tians, vases or Jars appear TO have bsen
the prevailing utensils for a great variety
Of purposes. These were OF different yes,
from several feet down to scarcely an inch
in height. Some Of these, used as water
jars, had wide necks; others, peculiarly
shaped, being made to contain wine, oil,
honey, milk, drugs, ointments, and numer-
Gus other articles. These vases were made
in terra Gotta or glazed common ware. the
prevailing color being red. and some of the
finer articles appearing to have been POL
ished BY some mechanical process. The
date CT this ware goes back to from 2,000
TO 1000 years before Christ. The glaze
used appears to have been formed of pull
verized slick and soda, and coloved By va
rious metallic oxides. The metallic lustTe
attained in this glaze. used notably in the
celebration OF the small earthenware
scarabael. or sacred beetle may be classed
among the lost arts. The art displayei
in the making OF these articles worn p.o5-
ably as kind OF charm. and often found
upon mummlee in their tombs. is marvel
Gus. and II is hard 10 believe that the be3u-
tiful insect Is a work of art. so perfectly
is nature initiated. Some fine specimens
may be seen In the National Museum, to-
gether with beads. human figures, etc.
found. for the most part, in tombs, all Of
earthenware. and some colored with a
beautiful blue enamel which is unsurpassed
-fn <1F rolr
linens OF ancient Eastern pottery SLOW
little resemblance to Egyptian art. con-
sisting, for the most part. OF bricks. tiles.
cylinders. etc. The number Of these exam
pies is constantly being added to. through
the explorations now in progress on the
sites OF the old Persian cities and tombs.
In fact. the pottery Of this ancient and,
hitherto, almost unknown people, is prov
ing more valuable from an archaeology
cal and historical point Of view, than that
OF any other ancient nation, for the reason
that upon the clay bricks in the palaces
OF Niueyah and Babylon have been found
indfted in characters which are now ca
silly deciphered by modern scholars, hith-
erto unknown or doubtful facts over which
has hung so long the darkness OF oblivion
or the seni-gloom OF tradition.
In Europe the most ancient pottery wor-
thy OF notice was that Of the Eruscans
Il
Christian era. had attained wonderful ar
tistic perfection. Unfortunately, no speci-
mems OF this native Etruscan art are pos
sessed by the Smithsonian Institution,
those seen here being the limitations OF
Greek art which came into vogue when
intercourse had been established between
the two peoples. Ancient Greece promot-
ed popular interest in ceramic art by hold
ing public exhibitions. but upon the in
70 ssrTan
OF metal vessels. the art rapidly declined
The Romans established some notable
manufactures Of pottery ware, but they
too, seem to have evineed a preference for
metal.
Chinese pottery dates back TO the sec
oud century. 3. c. Marco Polo, the Vene-
iian traveller who was the first European
10 bring to the Western nations anything
like a credible report Of conditions exist
ing In the Celestial Kingdom, speak.
with wonder Of the extent OF porcelain
manufacture. This was in the latter par
Of the thirteenth century, and Pol'
brought to Venice specimens OF Chimes
porcelain. among which were some cups
eight OF which he had purchased for
Venetian groat. But the finest article
were not exploited Notwithstanding al
the attempts 20 obtain them by Italian
Dutch, and Portuguese merchants, ant
the process OF manufacture remained Sc
cret.
The fine Italian pottery u the sixteenth
century derived its process. most proba
bly,, from Moorish art, exquisite specimens
OF which are to be seen in the Alhambri
in the shape OF tiles and panels. TIL
Dutch have been famous from the fifteenth
century for their colored tiles and othe
pottery produced at Delft and its vicinity
From the period mentioned this ware con
tInued to be largely introduced into Eng
land for churches and expensive mansions