examples, stand as worthy of the collector's study. This style is termed by the French Laque burgautée, and is not to be confused with another style with thick mother-of-pearl inlay, also of Chinese and Japanese origin.

In the example illustrated (p. 347), there are a good many little pieces of mother-of-pearl missing. It is partly incomplete, but enough remains after the ravages of time in its use in this country to indicate the beauty of the design and the perfection of the craftsmanship. It is Chinese work; the scene represents a feast of some sort at a pagoda by the river-side. It is night, the lantern bearers on the stairway on the right pace to and fro to receive the guests. In the middle on a terrace another lantern bearer is shown with a pole over his shoulder to which a lantern is suspended. On the stream is a boat with two figures. In the immediate foreground are two aquatic birds such as is found in the designs on Worcester porcelain. The graceful foliage of the trees and the flowers on the banks are picked out in gold on the black lac. The pagodas and the standing features, the balustrade with pillars with circular tops, and the great flowering tree in the background, iris-like, all shimmer with the iridescence of pink and green mother-of-pearl tints, carefully selected pieces being laid on in a manner such as only oriental fingers can attempt. In comparison with such cunning and almost magic manipulation of minute particles of colour the

amateur japanners of the eighteenth century who practised in this country fade into insignificance. They dabbled in a subtle art, following the fashionable recipes of John Stalker, who, in 1688, produced a volume to teach ladies and others how to "beautify" furniture, with his socalled japanning. Many a clock-case and cabinet and fine table have been ruined by these amateurs The nineteenth century followed on with crude decadence. The only comparison in regard to the patient artistry of the East is with the intarsia workers of Italy in the sixteenth century. One must regard, however, the papier maché tray on a lower plane than the choir stall; but delicacy of touch and ripeness of technique should be recognized wherever found, and these Chinese tea-trays, on the plane of minor decorative art, do claim recognition on this account.

IX

SIDELIGHTS IN POTTERY

Liverpool Tiles
Druggists' Jars

A Lowestoft Inkpot

Old Rouen Salt Cellars
Staffordshire Transfer printing

A Staffordshire Loving Cup

Irish Political Plates

Puzzle Jugs

The Chinese Ginger Jar of Commerce

Wedgwood Tobacco Pipe Heads

The Calabash and the Potter

Spanish Lustre Ware

Black Porcelain

CHAPTER IX

SIDELIGHTS IN POTTERY

Liverpool Tiles-Druggists' Jars-A Lowestoft Inkpot-Old Rouen Salt Cellars-Staffordshire Transfer-printing-A Staffordshire Loving Cup Irish Political Plates-Puzzle Jugs-The Chinese Ginger Jar of Commerce-Wedgwood Tobacco Pipe Heads-The Calabash and the Potter-Spanish Lustre Ware-Black Porcelain.

THERE are many curious phases of pottery of exceptional interest to the collector. A pleasing part of the hobby of the student is to turn aside from the main paths and pursue inquiries in unfrequented tracks relating either to the personality of the old potters or to trade rivalries which produced far-reaching results. There is the Wedgwood versus Champion lawsuit, concerning hard paste, carried to the House of Lords, and there is the controversy as to the respective claims of Battersea enamel, Worcester porcelain, and Liverpool tiles as to the first use of engraved plates in connexion with transfer-printing. One may attempt to trace Tebo, the somewhat mythical modeller of Bow, who is credited with having