It seldom happens that an important discovery, or imitation of foreign processes, fails to bring about a change in the practise of the arts. But when seeking for a motive for the substitution in China of painting on copper for mosaic work in enamels, we are at a loss to determine to which of the two causes just mentioned it should be attributed. It was about the beginning of the Thsing dynasty that painting on a copper excipient made its appearance,, and that this was not brought about through a desire to introduce some process superior to those hitherto in use, is clearly shown by the fact that cloisonnage still held its ground, and even sought to revive the delicate works of ancient times. At the same time a curious piece in Dr. Piogey's Collection might lead one to suppose that there was, after all, in all this, a lurking desire to imitate European processes. This piece, a sacrificial vase of the Tsio class, bears the "nicn hao" of the emperor Kien-long; the greater part of its surface is adorned with delicate cloisonne enamels, but the lateral medallions are painted, not only by means of European processes, but with subjects borrowed from the manners of the West. Are we justified in recognising in this process what the Chinese have called "enamels of Faience" (France)?

The painted enamel of the Chinese is applicable to objects of all sizes and forms. We have seen tripod perfume burners, a metre (39 in.) in diameter, besides gigantic dishes, vases, jars with covers, "potiches," and beakers rivalling porcelain "garnitures" for form and decoration. When the ornamentation includes medallions with figures, the ground is nearly always white, and the painting identical with that of porcelain vases. They consist mostly of historical or sacred subjects, but with very few figures. The decorative paintings are, on the contrary, overladen with foliage and flowers, and are very often raised on a yellow ground, the colour of the Thsing dynasty.

One of the peculiarities of this epoch is the attempt made by the enamellers to reproduce the effect of transparent pottery, and the application of porcelain to the imitation of painted enamels. We have seen altar torches of both kinds so identical in appearance, that the weight and touch alone could determine the real character of each.

We are unacquainted with any Japanese painted enamels, and though it does not follow that none exist, they must in any case be excessively rare.

India, on the contrary, must have produced such work, and among the most curious and successful may be mentioned those of Siam, which, like the Chinese, have also been imitated in porcelain. The tones are exceptionally vigorous, and the ornaments in good taste. We have seen tea-pots and globular vases of a very striking character, implying an advanced state of the art.

Persia, also, has its painting on metals, which, however, does not seem to date very far back. The manner in which they are executed, and their style, might even lead one to suppose that they were produced in Constantinople, by Persian artists working for the Mohammedans, while occasionally indulging in a flight to the field of their national art.