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www.allitebooks.com
Android Wearable
Programming

Expand on your Android development capabilities by

building applications for Android Wear

Steven F. Daniel

BIRMINGHAM - MUMBAI

www.allitebooks.com
Android Wearable Programming

Copyright © 2015 Packt Publishing

All rights reserved. No part of this book may be reproduced, stored in a retrieval
system, or transmitted in any form or by any means, without the prior written
permission of the publisher, except in the case of brief quotations embedded in
critical articles or reviews.

Every effort has been made in the preparation of this book to ensure the accuracy
of the information presented. However, the information contained in this book is
sold without warranty, either express or implied. Neither the author, nor Packt
Publishing, and its dealers and distributors will be held liable for any damages
caused or alleged to be caused directly or indirectly by this book.

Packt Publishing has endeavored to provide trademark information about all of the
companies and products mentioned in this book by the appropriate use of capitals.
However, Packt Publishing cannot guarantee the accuracy of this information.

First published: July 2015

Production reference: 1270715

Published by Packt Publishing Ltd.

Livery Place
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ISBN 978-1-78528-015-3

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Cover image by Evelyn Lam ([email protected])

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 Credits

Author Project Coordinator

Steven F. Daniel Bijal Patel

Reviewers Proofreader
Marcus Gabilheri Safis Editing
Andreas Göransson
Dr. Jibo He Indexer
Tejal Soni
Qian He
Jason Salas
Graphics
Jason Monteiro
Commissioning Editor
Priya Singh
Production Coordinator
Aparna Bhagat
Acquisition Editor
Vivek Anantharaman
Cover Work
Aparna Bhagat
Content Development Editor
Amey Varangaonkar

Technical Editors
Utkarsha S. Kadam
Shiny Poojary

Copy Editor
Kausambhi Majumdar

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 About the Author

Steven F. Daniel is the owner and founder of GENIESOFT STUDIOS

(http://www.geniesoftstudios.com/), a software development company based
in Melbourne, Victoria, that focuses primarily on developing games and business
applications for the iOS, Android, Mac OS X and Windows platforms. He is an
experienced software developer with more than 14 years of experience in developing
desktop and web-based applications for a number of companies, including: ANZ,
Department of Justice, BP Australia, and AXA Australia.

Steven is always interested in emerging technologies and is a member of the

SQL Server Special Interest Group (SQLSIG), Melbourne CocoaHeads, and
Java Community.

He was the cofounder and Chief Technology Officer (CTO) of SoftMpire Pty Ltd., a
company that focused primarily on developing business applications for the iOS and
Android platforms.

Steven is the author of various book titles, such as Xcode 4 iOS Development Beginner's
Guide, iOS 5 Essentials, iPad Enterprise Application Development Blueprints, and
Xcode 4 Cookbook, all by Packt Publishing. You can check out his blog at http://www.
geniesoftstudios.com/blog/ or follow him on Twitter at http://twitter.com/
GenieSoftStudio.

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 Acknowledgments
No book is the product of just the author — he just happens to be the one with his
name on the cover. A number of people contributed to the success of this book and
it would take more space than I have to thank each one individually.

I would personally like to thank two special people who have been an inspiration
and who have provided me with so much support during the writing of this book:
Vivek Anantharaman, my acquisition editor, who is the reason that this book
exists, for being a wonderful guide throughout this whole process, and Amey
Varangaonkar for his understanding and support, as well as his brilliant suggestive
approaches during the chapter rewrites. Thank you for everything, guys.

Lastly, to my reviewers: thank you so much for your valuable suggestions and
improvements, making this book what it is today. I am extremely grateful to each
and every one of you.

Also, thanks to the entire Packt Publishing team for working so diligently to help
bring out a high-quality product. Finally, a big thank you to the engineers at Google
for creating the Android platform and providing developers with the tools to create
fun and sophisticated applications.

Finally, I'd like to thank all of my friends for their support, understanding, and
encouragement during the writing process. It is a privilege to know each and
every one of you.

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 About the Reviewers

Marcus Gabilheri is a computer science student at Oklahoma State University.

He was born in Brazil but lived in Spain for 11 years. He moved to the United States
to be with his wife, Carissa Gabilheri, and decided to go back to school in the U.S. to
follow his passion for programming. As a student at OSU, he has won the University's
Mobile App Competition 2 years in a row. Marcus actively participates in the
developer community as a Google Developer Group organizer and advocates Android
development as well other technologies. He works as a mobile and web developer for
Oklahoma State University and enjoys developing Android apps in his spare time. His
latest achievement was in the Google Fit developer's challenge, where he was one of
the 12 grand-prize winners of the challenge with his fitness app, FitHub.

I would like to thank my wife, Carissa Gabilheri, for understanding

and putting up with all the late nights and uncountable hours that
I spend in front of my computer. I would also like to say special
thanks to my mother, Adriana Andreo, and my grandmother, Maria
Antonia Andreo, for raising me by themselves and to my parents-in-
law, Randy and Donna Wilson, for accepting me into their family
when I moved from Brazil to the U.S.

Andreas Göransson has been programming mobile phones since before

smartphones became popular. He has previously written two books on Android
development and has been involved in several open source projects. Beyond his
interest in working on the family farm, he is very interested in emerging technologies,
specifically, Internet of Things, wearable devices, and cloud-based services.

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Dr. Jibo He is currently an assistant professor at Wichita State University. He
graduated from Peking University in 2007 and the University of Illinois in 2012
with a research specialty in engineering psychology. He won the Star of Tomorrow
Award from Microsoft and was voted the Most Valuable Graduate by the University
of Illinois. He directs the Human Automation Interaction Lab at Wichita State
University. His lab does research on user experience, mobile devices, driving safety,
aviation psychology, and human computer interaction. The goal of his research is
to understand the human cognitive processes and develop technologies to improve
performance, increase user experience, and mitigate human error. He has experience
in developing for Google Glass, Android, iPhone, and smartwatches.

Qian He is an enthusiastic digital gadget lover and experienced software engineer.

He got his bachelor's degree in software engineering from Beijing Institute of
Technology. After working at IBM and studying at University of Chinese Academy
of Sciences, he decided to pursue a doctorate degree in the United States. Currently,
he is studying computer science at Worcester Polytechnic Institute. His main
research fields are ubiquitous computing and mobile health. Over the last few years,
Qian has been interested in wearable devices and has built several famous fitness
apps for Android / Android Wear / Pebble.

Jason Salas is a product manager, developer, sportscaster, author, and filmmaker

who enjoys a perpetual summer on the island of Guam.

He runs the R&D group for Guam's largest media company, where he also
co-anchors the nightly news.

Jason coauthored Designing and Developing for Google Glass (http://www.amazon.

com/dp/1491946458/ref=cm_sw_su_dp), by O'Reilly Media, published an e-book
about the trials and tribulations of a season in a semipro football league, and
previously contributed to a book on Microsoft Hailstorm. He's also a member of the
Football Writers Association of America.

You can find Jason at https://plus.google.com/+JasonSalas/posts.

www.allitebooks.com
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www.allitebooks.com
 To my favorite uncle, Benjamin Jacob Daniel, for always making me smile and
inspiring me to work hard and achieve my dreams, I miss you a lot.

Chan Ban Guan, for the continued patience, encouragement, and support,
and most of all for believing in me during the writing of this book.

To my family, for their love and support, and always believing in me

throughout the writing of this book.

This book would not have been possible without everyone's love and understanding
and I would like to thank you all from the bottom of my heart.
 Table of Contents
Preface v
Chapter 1: Understanding Android Wearables and Building
Your First Android Wear App 1
Introducing Android wearables 2
Understanding the Android Wear architecture 3
Setting up an Android development environment 6
Installing the Android Wear support library 7
Setting up and configuring the Android (AVD) Emulator 8
Building a simple Android wearable application 10
Creating the mobile activity component 12
Creating the Android Wear activity component 14
Summary 19
Chapter 2: Creating Notifications 21
Introducing Android notifications 22
Creating a basic notification for wearables 23
Specifying the form factors 24
Adding and customizing a blank activity 25
Adding dependencies to Gradle scripts 26
Creating a custom notification for wearables 33
Receiving voice input within a notification 39
Receiving multiple notifications through a process called
page stacking 43
Summary 49
Chapter 3: Creating, Debugging, and Packaging Wearable Apps 51
Creating an Android wearable watch face app 52
Presenting information inside the WatchFace class 55
Creating a custom watch face service class 60

[i]
Table of Contents

Debug your Android wearable app over Bluetooth 69

Running apps directly on an Android Wear device 71
The Android wearable user interface guidelines 76
Packaging your Android wearable application 77
Summary 83
Chapter 4: Sending and Syncing Data 85
Creating a wearable send and receive application 86
Creating a UI for the mobile activity 92
Creating a UI for the wear activity 94
Establishing connections for the mobile activity 99
Sending messages to the Android wearable 101
Receiving messages using MessageAPI 104
Transferring image data to the Android wearable 111
Receiving image data using DataApi 114
Summary 120
Chapter 5: Working with Google Glass 121
Installing the Glass Development Kit preview 122
Installing the Google USB drivers for Windows 124
Creating and building a Google Glass application 127
Setting the theme for the Google Glass app 131
Configuring the project to run on Google Glass 131
Creating the custom menu resource file 134
Configuring the AndroidManifests file 137
Creating the custom camera layout resource file 139
Incorporating a voice input within Google Glass 141
Accessing camera through Google Glass 144
Incorporating the Google Maps API with Google Glass 149
Modifying the Google Glass main activity UI 154
Launching the app within Google Glass 157
An introduction to GDK and the Google Mirror API 157
The Mirror API playground 158
The Google Glassware principle design guidelines 160
Summary 161

[ ii ]
 Table of Contents

Chapter 6: Designing and Customizing Interfaces

for Android TV 163
Creating and building an Android TV application 164
Customizing the Android TV user interface 167
Creating the CustomHeadersFragment class 168
Creating the CustomRowsFragment class 172
Creating the CustomFrameLayout class 176
Creating the SearchActivity class 179
Creating the SearchFragment class 182
Creating the custom activity layout resource file 185
The Android TV user interface design guidelines 193
Summary 194
Index 195

[ iii ]
 Preface
Android Wear is becoming extremely popular, and offers a great opportunity for
developers to learn how to build applications for the Android Wear platform, which
is a special version of the core Android OS, and has been tailored for wearable
computing devices such as smartwatches. These wearable devices come with a brand
new user interface, which is the result of Google working with their customers to
understand how they use their phones today and how they can be more in touch
with their environment.

Android Wearable Programming provides a practical approach to developing

and building Android apps using the Android Studio Integrated Development
Environment. The new Android Studio IDE has introduced a specialized development
environment that has been welcomed by the emerging Android community. This IDE
is perfect to develop Android Wear apps because of the tight integration it has with the
Wear development APIs, and also the streamlined build cycle with Gradle that helps
to minimize a lot of manual configuration that the developer would need to do in
other IDEs.

In this book, I have tried my best to keep the code simple and easy to understand
by providing a step-by-step approach, with lots of screenshots at each step to make
it easier to follow. You will soon be mastering the different aspects of Android
Wear programming, as well as the technology and skills needed to create your
own applications for the Android Wear platform.

Feel free to contact me at [email protected] if you have any queries,

or if you just want to drop by and say "Hello".

[v]
Preface

What this book covers

Chapter 1, Understanding Android Wearables and Building Your First Android Wear App,
describes the background of the Android Wear platform architecture and shows you
how to set up and configure the Android development environment, before finally
looking at how to create a simple Android Wear app.

Chapter 2, Creating Notifications, introduces you to Android notifications, where you

will learn how to create basic and custom notification messages. You will learn how
to incorporate voice capabilities to read out the content of the notification, before
learning how to group multiple notification messages using page-stacking.

Chapter 3, Creating, Debugging, and Packaging Wearable Apps, focuses on designing and
creating custom watch faces to present information within the Android wearable
watch area. You will learn how to effectively debug your app over Bluetooth, before
finally learning how to package your wearable app so that it can be used within the
handheld mobile device.

Chapter 4, Sending and Syncing Data, introduces you to the Data Layer API and
the Message API frameworks, so that you can synchronize image data from the
handheld device with the wearable, as well as use the Message API to communicate
between the handheld and the wearable to send and receive messages.

Chapter 5, Working with Google Glass, explores how to build effective user interfaces
for the Google Glass platform by creating user interfaces that display content that
responds to voice input commands, before finally learning how we can access the
Glass camera to take a snapshot and save the image to local storage.

Chapter 6, Designing and Customizing Interfaces for Android TV, provides you with the
background and understanding of how to effectively present your app within the
main user interface and how you can design your app by following the Android
TV UI Patterns to help users get the content they want quickly. Also, you will learn
how to create and use fragments that allow information to be presented within the
Android TV interface to represent your content.

What you need for this book

For this book, you need a computer running a Windows, Mac OS, or Linux system.
You will also need to have the Android Studio IDE and both Java and Java Runtime
Environment installed on your system.

[ vi ]
 Preface

Who this book is for

This book is intended for developers who have a working experience of the
application development principles for the Android platform and wish to expand
their Android capabilities by developing applications for Android wearables
using the key features of Android Studio. It's assumed that you are familiar
with object-oriented programming and the Java programming language.

Conventions
In this book, you will find a number of styles of text that distinguish between
different kinds of information. Here are some examples of these styles, and an
explanation of their meaning.

Code words in text are shown as follows: "We can include other contexts through
the use of the include directive."

A block of code is set as follows:

public class MainActivity extends ActionBarActivity {

// Set up our Notification message ID

int NOTIFICATION_ID = 001;

When we wish to draw your attention to a particular part of a code block, the
relevant lines or items are set in bold:
dependencies {
compile fileTree(dir: 'libs', include: ['*.jar'])
compile 'com.android.support:appcompat-v7:21.0.3'
compile 'com.android.support:support-v4:20.0.+'
}

Any command-line input or output is written as follows:

$ ./adb forward tcp:4444 localabstract:/adb-hub
$ ./adb connect localhost:4444

[ vii ]

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Random documents with unrelated
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Gardner, at Tver, makes porcelain, 275
Garnier, Édouard, late director at Sèvres, 310
—— —— report on contemporary porcelain, 389-394
Garniture, term explained, 23
—— de cheminée in Chinese porcelain, 139
Geneva, porcelain painters at, 271, 311
Gersaint, his catalogue of Oriental porcelain, 230
Ginori family at Doccia, 320-321
Glass, possible influence on early Chinese glazes, 57
—— made by Hu imitated in porcelain, 113
Glazes, 12, 30-38
—— preparation of, 30
—— applied to unbaked ware by Chinese, 30
Glazes, called oil by Chinese, 31
—— distinguished from enamels, 31
—— fusibility of, 32
—— on Egyptian fayence, 32
—— composition of ancient, 33, 144-154
—— three main classes of, 34
—— on Chinese porcelain, 35
—— relation to subjacent paste, 35
—— containing lime, 35-36
—— at Sèvres of two types, 36
—— on European porcelain, composition of, 36
—— on Chinese porcelain, composition of, 37
—— when first used by Chinese, 69
—— sole source of decoration on early Chinese porcelain, 70
—— for French soft pastes, 281
—— for hard pastes at Sèvres and Limoges, 306
‘Glozing’ or glazing oven, 27
Gold as source of red colour (see also Rouge d’or), 89
Gotzkowski, Berlin banker, 262
Gotha, Museum at, early Chinese porcelain, 72, 174, 212
—— porcelain made at, 269
Gouyn, Charles, manager at Chelsea, 333
Granite, primary source of both kaolin and petuntse, 9
Granitic rocks, varieties of, 9
Granja, La, porcelain gabineto at, 323
Gravant, potter at Sèvres, 290, 294
Graviata bowls, 115
Green and blue enamels not successfully united by Chinese, 98 note
—— —— on two vases of Ming porcelain in British Museum, 99 note
—— glazes on Chinese porcelain, 149
—— of famille verte, how applied, 99-100
Grieninger, manager at Berlin, 263
Growan-stone and clay, 377

Hague, porcelain made at, 273, 389, 393

Hampton Court, Oriental porcelain at, 185, 225-226
Hampton Court, no specimens of famille rose or of ‘Old Japan,’ 225
—— —— age of porcelain represented at, 226
—— —— Queen Mary’s china cabinet, 226
Hancock, Robert, working at Battersea, 347
—— —— and transfer-printing, 360
Handles, fixing of, 23
Hannong family, Strassburg potters, 268, 269, 305, 313, 318
Hardness of porcelain, 5, 18
Haslem, J., on casting process at Derby, 26, 354
Hat-stands in Chinese porcelain, 139
Haviland factory at Limoges, 389, 390
Hellot, chemical adviser at Sèvres, 291, 300
—— his memoir quoted, 278-280, 294, 299
Herculaneum works at Liverpool, 371
Herend, in Hungary, porcelain factory at, 271, 392
Herold or Höroldt at Meissen, 253
Hippisley, translations from Chinese, 91 note
Hirado or Mikôchi ware, 193-195
Hirth, Dr., on early Chinese trade, etc., 54, 210-213
—— —— collection of early Chinese porcelain, 72
Höchst, porcelain made at, 264
Holdship, Richard, 358
Holland, Chinese ‘blue and white’ early imported, 158
—— Chinese porcelain in, 229
—— porcelain made in, 272-274, 389, 393
Hookah-bases of Chinese porcelain, 140
Hsuan-te (1425-35), porcelain of, 92
—— blue and white of, 83
Hua-shi, a stone used in Chinese porcelain, 131, 376
Hungary, porcelain made in, 271, 392
Hung-chi (1487-1505), porcelain of, 93, 147
Hunger, at Vienna, 260
Hunger, at Venice, 317
Hybrid pastes of Italy, 316

Imari porcelain, 186-193

—— —— elements of decoration, 187
—— —— relation to early Chinese enamelled wares, 187-188
—— —— relation to other Japanese wares, 188
—— —— copied at King-te-chen, 188 note
—— —— composition of paste, 190
—— —— source and nature of materials, 190
—— —— in Dresden collection, 229
Incense, vessels used in burning, of Chinese porcelain, 138
India, Chinese porcelain found in, 85, 158
—— porcelain enamelled at Canton for, 165
Insufflation of glaze by Chinese, 30
Iron-red in fine lines to imitate the rouge-d’or, examples at Dresden, 162

Jade, highly esteemed in China, 57

—— influence on early Chinese glazes, 57
Japan, early pottery of, 177, 179
—— Korean potters in, 179
—— porcelain of, 177-207
Japanese experts on Chinese porcelain, 55
—— porcelain, how introduced from China, 180-181
—— —— early export of ‘blue and white,’ 182
—— —— exported by Dutch, 183-184
—— —— sources of information, 183 note, 193 note
—— —— export stimulated by troubles in China, 184
—— —— princely patronage of, 189, 194
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—— —— composition of paste, 190
Japanese porcelain, preliminary firing, 191
—— —— glazes how prepared, 191
—— —— furnaces, 191
—— —— marks of crows-feet, 191
—— —— shapes and uses, 192
—— —— colours employed, 192
—— —— celadon, 192, 195, 197, 201
—— —— stories of processes discovered by spies, 196, 202, 203
—— —— influence of conservative criticism on, 206
—— trade with China, 178
Julien, Stanislas, translations from Chinese, 53
Ju yao, early Chinese ware, 62

Kaga or Kutani ware, 203-206

Kai-feng Fu, old Sung capital, 62, 63, 65
Kakiyemon, a potter of Hizen, 183
—— ware, 185
—— —— blue enamel over glaze, 186
—— —— imitated at Meissen, 253
—— —— imitated at Chantilly, 286
Kändler at Meissen, 253
—— chief modeller of ‘Dresden figures,’ 253
Kang-he (1661-1722), porcelain of, 96
—— his date-mark, why rare, 119
Kaolin, 8, 10
—— preparation of, 16
—— proportion of, in hard pastes, 17, 385
—— search for in France, 305-306
—— found at Alençon and St. Yrieix, 305-306, 378
—— found in Cornwall, 376-378
Kaolinic stoneware, use of term, 69
Karl Theodor, Elector Palatine, 260, 267
Kenzan, potter at Kioto, 197
Khanfu, Arab name for Hangchow, 209
Kia-king (1795-1820), porcelain of, 114, 155
Kia-tsing (1521-66), porcelain of, 94
Kien-lung (1735-1795), porcelain of, 105-114
—— his poems inscribed on porcelain, 113
Kien-lung, Sèvres porcelain for, 298
Kien yao, old Chinese ware, 66, 180
—— —— example in British Museum, 71
—— —— white porcelain, 142, 143
Kilns for firing porcelain. See Furnaces.
King-te-chen in early days, 62
—— oppression of court officials, 94
—— in Kang-he’s reign, 96
—— lists of porcelain made, 95, 104, 115
—— burned, 115, 125, 220
—— position, 123-125
—— Pekin, how reached from, 123
—— Canton, how reached from, 124
—— relation to Jao-chau and Fouliang, 124-125
—— description of town, 125, 127
—— materials brought down in junks, 128
—— foreign designs copied at, 165
—— works abandoned for long period in seventeenth century, 220
Kinsay or Hangchow, 62, 63, 209
Kioto, porcelain made at, 196-199
—— potters copied Ming enamelled wares, 198
—— wares, récherché rudeness of, 197
Kishiu ware or Ô-niwa yaki, 199
—— —— imitated for export at Tokiyo and Kobe, 200
Kiyomidzu, suburb of Kioto, porcelain made at, 197, 198
Kizayemon family, court purveyors of porcelain, 188
Kochi, meaning of Japanese term, 175
—— ware of Japanese, 201
Kok, Juriann, his new porcelain at the Hague, 389, 393
Koransha, combination of Japanese potters, 193
Korea, relations with China and Japan, 168
—— fanciful attribution of various wares to, 169, 186
Korean porcelain, classification of, 170
—— —— celadon, 170
—— —— plain white, 170
—— —— crackle ware, 171
Korean porcelain described in early Chinese books, 171
—— inlaid with white slip, 171
—— potters in Japan, 169
Koreans, early use of enamel colours by, 169
Kousnetzoff factory, Moscow, 392
Ko yao, early Chinese ware, 63, 65, 145
‘Kronenburg porcelain,’ origin of name, 267
Kuang-tung porcelain of Raynal, 166
Kuang yao, stoneware, 166
—— —— early Chinese ware, 63
Kublai Khan, 72, 213
Kutani or Kaga ware, 203-206
—— ware, relation to Imari porcelain, 204
—— —— marks on, 205
Kwan-yin, statues of, 135, 143, 226

Lace imitated in porcelain at Berlin, 264

Lang Ting-tso, superintendent at King-te-chen, 96 note, 103, 151
Lang yao, origin of name, 103
Langen, von, at Fürstenberg, 265
—— —— at Copenhagen, 274
Laque Burgauté, 114
Lathe, use of, in shaping porcelain, 22
Lead in glaze, 33-34
Leithner, chemist at Vienna, 261
Lemon-yellow, opaque glaze on Chinese porcelain, 111-115
Lille, porcelain made at, 284
—— coal early used in porcelain kilns, 285
Lime in paste or glaze of porcelain, 35-36, 251
Limoges district, porcelain works in, 15, 314-315, 389-390
—— enamel copied in Chinese porcelain, 135 note
Lister, Dr. Martin, at Saint-Cloud, 282, 326
Lists of porcelain made for Chinese court, 95, 115
Lithophanic porcelain, at Berlin, 264
Littler at Longton Hall, 348
Liverpool porcelain, 370-371
London, West of England porcelain painted in, 363, 366, 369
Longton Hall porcelain, 348-349
Lowestoft and Oriental armorial porcelain, 369-370
—— china, so-called, 165, 369
—— porcelain, 369-370
Ludwigsburg, porcelain made at, 266
Lung-chuan celadon, reproduced at King-te-chen, 132
—— yao, early Chinese ware, 63
Lung-king (1566-72), porcelain of, 95
Lustre ware, attempted imitation by Chinese, 74 note
Lyle, Mr., on old Siamese porcelain, 173

Macaulay on china collectors, 61 note

Madeley, Sèvres porcelain copied by Randall at, 366
Magnesia, an element of porcelain paste, 12, 131
—— in paste of Vinovo porcelain, 318
—— in paste of Spanish porcelain, 324
Magnets, removal of iron from slip by, 19
Magots, decorated in famille verte style, 100
Mainwaring, Mr. Massey, his collection of Dresden figures, 254 note
Mainz, elector of, and Höchst porcelain, 264
Manchu or Tsing dynasty, 96
Mandarin china, 114
Manganese-purple glazes on Chinese porcelain, 98, 147
—— —— in the San-tsai enamels, 99
Marcolini, Count, director at Meissen, 256
Marieberg, porcelain made at, 273
Marks on Chinese porcelain, 117-122
—— —— how and where applied, 117, 119
—— —— give little information, 119, 122
—— —— Tang or hall, Chai or studio, 120
—— —— allusive, descriptive, emblems and devices, 120-121
—— —— ‘canting’ devices, 121
Marks on European porcelain. See under the principal factories.
—— on Japanese porcelain, 197, 199, 200, 205
Marnes, used in French soft pastes, 279
Martabani celadon, examples in European collections, 71
—— ware, 64-65, 210 seq., 144, 173, 215
Materials of porcelain, M. Vogt’s experiments, 17
Maubrée, flower-painter on porcelain, 271
Mazarin or powder-blue grounds of Chinese, 148
Medici, Lorenzo de’, receives present of Chinese porcelain, 217
—— porcelain, 236-238
—— —— only identified lately, 236
—— —— Vasari’s account, 236
—— —— decoration of, 237
—— —— composition of, 237
—— —— marks, 238
Medicine-flasks (yao-ping) or snuff-bottles of Chinese porcelain, 113-114,
140
—— —— of Chinese porcelain, used by Arabs, found in Egyptian tombs,
140
Meissen porcelain, 244-258
—— —— composition, 7, 250-251
—— —— first successfully made (1713-1716), 249
—— —— composition of glaze, 251
—— —— hardness of paste, and difficulties in application of enamels, 251
—— —— early pieces mostly defective, 252
—— —— ‘Dresden figure groups,’ 253
—— —— imitation of Chinese magots, 253
—— —— armorial designs, 253
—— —— flowers imitated, 254
—— —— attempts to make large figures, 254
—— —— effects of Seven Years’ War, 255
—— —— important position of enamel painters, 255
Meissen porcelain, early exported to Turkey, 255 note
—— —— marks on, 257
—— —— recent work, 257, 392
—— —— marks on, copied, 258
—— —— smuggled into England, 334
Melchior at Höchst, 265
—— at Frankenthal, 268
Mennecy, porcelain made at, 287-288
Mica, an element in Chinese porcelain, 11, 131, 376 note
Mikôchi or Hirado ware, 193-195
Ming dynasty, porcelain of, 78-95
—— porcelain, colour decoration, 79, 86-91, 161
—— —— ‘blue and white,’ 81-85, 95, 157
Minton, Thomas, 366, 373
Mirror black glaze on Chinese porcelain, 130, 149
Mohammedan forms of Chinese porcelain, 140
Mo-hung, iron-red painted over glaze, 150
Mokubei, potter at Kioto, 201
Moore, Bernard, imitates Chinese glazes, 387
Morikaga, painted on Kaga ware, 204
Moulding, antiquity of process, 23-25
—— process described, 23-25, 128
—— largely used for Chinese porcelain, 112
Muffle-stoves for firing enamels, 47, 281

Nabeshima or Okôchi ware, 195

Nantgarw porcelain, 367-368
Napoleon’s ideas for decoration of porcelain, 308
Niderwiller, porcelain made at, 270
Nien-hao. See Date-marks.
Nien Hsi-yao, superintendent at King-te-chen, 104-105
Nien yao, 105
Nightingale, Mr., on sales of Chelsea porcelain, 335 note, 336 note
Ninsei, potter at Kioto, 196
Nove, Le, porcelain factory at, 318
Nymphenburg, porcelain made at, 267
Nyon, porcelain made at, 271

Okeover plate in British Museum, 164

Okôchi or Nabeshima ware, 195
‘Old Japan.’ See Imari.
Ô-niwa yaki or Kishiu ware, 199-200
Oriental porcelain, earliest specimens in Europe, 217-218
Orleans, Duke of, collector of Oriental porcelain, 230
—— —— and Saint-Cloud, 283
—— family, interest in porcelain, 314
—— porcelain made at, 288
Ormolu mountings at Sèvres, 297
—— —— on English porcelain, 339
Orry de Fulvi at Vincennes, 290
Oude Amstel, Dutch porcelain, 273
—— Loosdrecht, porcelain made at, 272
Ovens for firing porcelain. See Furnaces.
Owari porcelain, 201-203
—— —— materials and composition, 190
—— —— cheap ware for export, 203
Owen, Mr., on Bristol porcelain, 376, 381 note

Painted glazes, term explained, 44, 59

—— —— on Ming porcelain, 79
—— —— of Hsuan-te, 92
Painters on Chinese porcelain, 108
—— —— signatures of, 108
—— —— division of work, 129
—— on Sèvres porcelain, signatures of, 303
Painting, schools of, in China, 82
—— on porcelain. See also Enamelling.
Palissy probably endeavoured to make porcelain, 239 note
Parian ware, 373
Paris, soft-paste factories at, 288
—— hard-paste factories at, 312-314
Pâte-sur-pâte, 41, 311
‘Peach-bloom’ glaze, 105, 154
Pen-rests in Chinese porcelain, 139
Persia, Chinese porcelain in, 147, 157, 215, 216
Persian fayence compared with Chinese porcelain, 73
Persian fayence, early use of blue under glaze, 74, 75
—— —— Chinese influence on, 76
—— Gulf, early Chinese trade with, 213
—— —— English trade with, 221
—— inscription on fifteenth century Chinese porcelain, 94
Petuntse (see also China-stone), 8, 10
—— proportion of, in hard pastes, 385
Pierced decoration in Chinese porcelain, 154
Pillows in Chinese porcelain, 139
Pinxton porcelain, 371
—— Billingsley makes porcelain at, 368, 371
Pirkenhausen factory, Carlsbad, 392
Place, Dr., of York, experiments with various clays, 242
Planché, modeller at Derby, 351
Plymouth porcelain, 375-381
—— —— composition of glaze, 380
—— —— marks on, 380
Poems on Chinese porcelain, 113
Poison detected by Chinese porcelain, 215
Polo, Marco, account of China, 72
—— —— on Chinese porcelain, 213-214
Pompadour, Marquise de, and Sèvres, 290, 292, 295, 300
Porcelain, physical properties of, 5
—— microscopical structure, 5
—— chemical composition, 6-12
—— materials, 14-18
—— transition to kaolinic stoneware in Japanese porcelain, 206
—— vague early use of the word, 217
—— early reports in Europe as to its composition, 223
‘Porcelain fever’ at time of Seven Years’ War, 255
Porcelain or purslane, word, how used in Elizabethan times, 222
Portugal, porcelain made in, 325
Portuguese in China, 219
—— as importers of porcelain, 222, 230
Poterat family of Rouen, 239, 282, 284
Potsherds of Chinese porcelain, ground up for paste of English porcelain,
326 note
Potter’s wheel, 20-22
—— —— early forms, 20-21
Pourcelainnes, the word, how used by Marco Polo, 214
Pressing, process described, 23

Quan-yin, or Kwan-yin (Jap. Kwannon), 135, 143, 226

Randall copies Sèvres porcelain, 366
Raynal, Abbé, on Chinese porcelain, 85
—— —— quoted, 166, 231
—— —— on classification of Oriental porcelain, 223 note
Réaumur makes porcelain, 278
Red decoration sous couverte, 43
Red Sea ports, early Chinese trade with, 213
Reine, porcelaine de la, made in Rue Thiroux, 313
Reproductions of old types of Chinese porcelain, 104, 115
Riaño, Don Juan, on Spanish porcelain, 322, 325
Rice-grain, in pierced decoration, 155
Ringler, the arcanist, 264, 266, 267
Risampei, a Korean, at Arita, 181
Ritual vessels in Chinese porcelain, colours of, 138
Rockingham porcelain, 371-372
Rörstrand, porcelain made at, 273
—— —— contemporary work, 388, 393
Rose, John, 365, 366
Rose-red grounds (opaque), mei-kwei, on Chinese porcelain, 110
Roses on English porcelain, 352, 368
Rouen porcelain, 238-239, 282
—— —— examples where found, 239
Rouge d’or on Chinese porcelain, 107
—— —— date of introduction in China, 110 note
—— —— not mentioned by D’Entrecolles, 136
—— —— late introduction in Japan, 189, 205
—— —— used early at Saint-Cloud, 283
Rouge d’or, source of, 284 note
—— —— mentioned in De Frasnay’s poem, 284 note
Rozenburg works at the Hague, 389, 393
Russian porcelain, 274, 392

Sacrifice of the potter Tung, 113

Saint-Cloud, porcelain made at, 282-284
—— seventeenth century designs on porcelain, 283
St. Petersburg, porcelain made at, 274, 392
Saladin’s present of Chinese porcelain, 215
Salting collection, early vase with cloisons, 80
—— —— enamelled bowl with Cheng-te mark, 89, 161
—— —— famille verte with black ground, 101
Salvétat, notes to Julien’s work, 53
Samson, imitates old wares, 314
Sanda celadon, 201
Sang de bœuf glazes, 42
—— —— imitated in England, 387
—— —— on Chinese porcelain, 151
San tsai or ‘three-colour’ glazes, 44
—— —— the ‘three colours’ of Ming enamels, 89, 97
—— —— relation to Kishiu ware, 98
Saracenic glass, enamels on, 88
—— —— found in China, 88 note
—— motives and forms in Chinese porcelain, 76, 140
—— origin of enamelled porcelain, 87, 88
Sassanian influence on Far East, 70 note
Sawankalok, porcelain made at, 173, 212 note
Sceaux, porcelain made at, 288
Schneeball-vasen, 254
Schnorrische Erde used by Böttger, 250
Seggars, preparation and arrangement in furnace, 28-29
—— arrangement in Chinese furnaces, 133
—— late introduction in Japan, 188
Sei-ji, Japanese term for celadon, 64
Sentoku, Japanese reading of Hsuan-te, 92
Seto, village in Owari, connection with Japanese porcelain, 180, 202
Seto-mono, Japanese equivalent to ‘china,’ 202
Sève for Sèvres, 290 note
‘Severe’ or kaolinic porcelain, 17-18, 385-386
Sèvres, experimental work at, 15
—— hard paste, two types, 17
—— the new porcelain, 18
—— the soft paste of, 289-304
—— porcelain works removed to, 292
—— edicts against competing works, 295
—— the factory a fashionable lounge, 295
—— date of the best work, 297
—— soft paste abandoned, 303
—— —— repainted at later dates, 304
—— the hard paste of, 305-312
—— German workmen at, 305
—— Macquer succeeds Hellot, 305
—— early hard paste of mild type, 306
—— the new mild type of hard paste, 307, 390
—— proposed withdrawal of State support, 310, 311, 312
—— hard paste, analysis of, 386
—— contemporary porcelain, 389, 390
—— laboratory, chemical and technical researches on Chinese porcelain,
47-48, 55
—— porcelain sold at Versailles, 292
—— —— biscuit figures, 296
—— —— royal dinner-services, 297-298
—— —— colours of grounds on, 299
—— —— turquoise enamel, how prepared, 299
—— —— Rose carnée or Pompadour, 300
—— —— gilding on, 301
—— —— date-marks on, 302
—— —— jewelled decoration, 302
—— —— artists’ marks on, 303
—— —— felspathic glaze, 306
—— —— glaze on early hard paste, 306
—— —— big vases of, 307-308
—— —— the Napoleonic decoration, 308
—— —— changes in decoration illustrate history, 310
—— —— coloured pastes, 311
—— —— pictorial plaques, 271, 311
—— —— later developments, 312, 390
‘Shaping,’ term explained, 20
Sha-t’ai or ‘sand-bodied’ relation to hua-shi, 132
—— —— used as slip, 154
Shonsui, first made porcelain in Japan, 181
Siamese porcelain, 172-175
—— —— primitive methods of support in kilns, 174, 211
—— —— Buddhist emblems, 175
—— —— decorated at Canton, 175
Signatures of painters on famille rose plates, 108
Silica, proportion of, in hard pastes, 7, 385
Silver plate replaced in France by porcelain, 285
Slip or barbotine, 19, 312
—— decoration of Chinese porcelain, 146, 147, 154
Slop-blending, 16
Snuff-bottles of Chinese porcelain, 113-114, 140
Soft pastes, how distinguished, 277 note
—— —— of France, origin of, 277-279
—— —— composition, 279
Solon, M., at Sèvres, 311
Sometsuke, Japanese term for ‘blue and white,’ 187
Soufflé glazes on Chinese porcelain, 30, 150
Sous couverte or under-glaze decoration, 43
Spain, porcelain made in, 322-324
—— Chinese porcelain early imported, 322
Spengler of Zurich at Derby, 354
Spode family of Stoke, 372-373
—— Josiah, abandons use of frit in porcelain, 373
—— —— his felspar porcelain, 373
—— ware, 373-374
Sprimont, Nicholas, manager at Chelsea, 333, 338, 341
—— —— his Case of the Undertaker, 334
Staffordshire porcelain, composition, 372
Steatite in Chinese porcelain, 131
—— used at Worcester, 359
—— used at Swansea, 368
—— relation to Hua-she, 376 note
Stoneware, relation of, to porcelain, 7, 386
—— composition, 7
Stonewares of Chinese, 165-167
Strassburg, porcelain made at, 269
Strawberry Hill, porcelain at, 266, 283, 321, 379 note
Sui-ki, Chinese term for crackle or truité ware, 146
Sumatra, Chinese trade with, 210
Sung dynasty of China, 62
—— porcelain, 62-68
—— —— copied in later times, 52, 104
—— —— rarity in European collections, 71
Su-ni-po and Su-ma-li, cobalt blues of Arab origin, 92
Swansea porcelain, 367-369
Swedish porcelain, 273
—— —— contemporary work, 388, 393
Swinton, Rockingham porcelain made at, 371
Swiss porcelain, 270

Ta-mo (Jap. Daruma), 143

Tang dynasty of China, importance of, 56, 209
Tang-ying, superintendent at King-te-chen, 110
—— report on manufacture of porcelain, 111-113
Tao-kwang (1820-50), porcelain of, 115
Tea drinking, influence on ceramic wares, 179, 224, 243
—— —— ridiculed in drinking-song, 243
Tek-kwa or Te-hua, 142
‘Throwing’ on wheel, 20-22
Thüringer Wald, porcelain made in, 269
Tin enamel used at Chantilly, 286, 294
Tin-glazed fayence, 73
Tin in glaze, 33-34
Ting yao, old Chinese ware, 67, 141
Tingui of Marco Polo, 213-214
Tokugawa period, decline of art in later times, 198, 205
Toshiro, Japanese potter, 180
To-t’ai, ‘bodiless’ porcelain, 91
Tournai, porcelain made at, 289
Toys made of Mennecy porcelain, 287
—— made of Chelsea porcelain, 337
Transfer-printing at Bow, 347
—— at Worcester, 360
‘Transmutation’ glazes on Chinese porcelain, 66, 150-154, 151 note
Trembleuse saucers, 283, 294
Trenchard family, early pieces of Chinese porcelain in possession of, 219
Triads of colour—San-tsai, 89, 97
Trou, Henri, at Saint-Cloud, 283
Tsang Ying-hsuan, superintendent at King-te-chen, 96
Tschirnhaus, glass made by, 246-247, 278
—— his connection with Böttger, 246-247, 248
Tsing or Manchu dynasty, 96
Tung, the potter’s god, 113
Tung-chi (1861-74), porcelain of, 115
Tu Ting ware, term explained, 68
Turks use coffee-cups of Oriental porcelain, 224
Turner, Thomas, at Caughley, 365
Turquoise glaze on Chinese porcelain, 97, 147
—— grounds (opaque)—fei-tsui—on Chinese porcelain, 110-111
—— —— on Sèvres porcelain, 299
—— —— on Chelsea porcelain, 339
Tu-ting, 142
Tzu-ching, writer of Bushell MS., 61, 79, 86
Tzu-kin (burnished gold), Chinese name for fond laque, 146

Unaker, kaolin from America, 342, 376, 378

Uranium, black enamel from, 261
Uses of Chinese porcelain, 137-141
—— of Japanese porcelain, 192

Venice, Chinese porcelain in St. Mark’s, 77 note

—— early attempts to make porcelain in, 235
—— Oriental porcelain abundant in seventeenth century, 235 note
—— porcelain made at, 316-318
—— German influence on porcelain, 317
Vernadsky, on chemical reaction in firing porcelain, 11
Vezzi family at Venice, 316
Vienna, origin of porcelain works, 260
—— porcelain, decoration, 260
—— —— marks on, 260
Villeroy, Duc de, and Mennecy, 287
Vincennes, porcelain made at, 289-291, 293-295
—— bleu du roi, 294
—— early perfection of porcelain, 295
Vinovo, or Vineuf, porcelain factory at, 318
Vissage or wreathing, 22, 106 note, 384
Vogt, M., of Sèvres, quoted, 17, 278

Wall, Dr. John, at Worcester, 357, 363

Walpole, Horace, porcelain from Doccia, 321
Wan-li (1572-1619), his present of porcelain to Jehangir, 85
—— porcelain of, 95
Warham, Archbishop, celadon bowl at Oxford, 218
‘Wasters,’ importance of discovery of, 29
Watteau, influence on German art, 253
Wedgwood, his Jasper ware, 40
—— at Meissen, 256
—— and fugitive workmen, 381 note
—— his opposition to Champion, 383
Weesp, in Holland, porcelain made at, 272
White Chinese porcelain, two families of, 68
Willow pattern at Caughley, 365
Worcester porcelain, 357-364
—— —— foundation of factory, 357
—— —— composition of pastes, 358
—— —— the factory described, 358
—— —— Oriental wares copied, 359
—— —— portraits of celebrities, 360, 364
—— —— marks on, 360, 364
—— —— transfer-printing, 360-361
—— —— migration of painters from Chelsea, 361
—— —— bleu du roi grounds, 361-362
—— —— decorated in London, 362-363
—— —— the Chamberlain factory, 363
—— —— late developments, 364
‘Wreathing’ or vissage, 22, 106 note, 384
Wu-kung, five vessels on Buddhist shrine, 138
Wu-shê (see Garniture), 139
Wu-tsai, the ‘five colours’ of Ming enamels, 89
—— relation to famille verte, 101

Yang-tsai, ‘foreign colours,’ associated with Indian enamels, 165

Yao-pien, or furnace transmutation, 152
Yao-ping, or medicine-flasks, 113, 140
Yeiraku ware, 198-199
Yeisen, potter at Kioto, 197
Yellow glazes on Chinese porcelain, 94, 147
Yi-hsing yao, stoneware, 165
Yuan or Mongol dynasty, 72
—— —— porcelain of, 77, 152
Yung-cheng (1722-35), porcelain of, 103-105
—— copies of old wares, 104
—— his early interest in porcelain, 135
Yung-lo (1402-24), early date-mark, 67
—— porcelain of, 68, 91

Zaitun, 142, 209, 213

Zanzibar, Chinese porcelain found at, 211
Zengoro, family of Japanese potters, 198
—— his coral red, his Yeiraku seal, 198-199
—— his Kairaku ware in Kishiu, 200
—— Hozen at Kutani, 205
Zurich, porcelain made at, 270
Printed by T. and A. Constable, Printers to His Majesty at the Edinburgh
University Press

FOOTNOTES:
[1] Some English porcelain is stated by Professor Church to have a hardness equal
to that of quartz. See below, ‘Bristol Porcelain.’
[2] We have thought it well, once for all, to treat briefly of the scientific aspect of
our subject, but those who are not interested in this point of view may pass over the
next few pages.
[3] I shall return to this point in a later chapter. I lay the more stress on this fact, as
it is often stated that the hard and slightly translucent stonewares, such as the Fulham
ware of Dwight, which contains as much as eighty per cent. of silica, form one degree
of a series of which true porcelain is the next term. The fact is, those who sought to
make porcelain by a refinement in the manufacture of stoneware were as much astray
as those who started from a fusible glass frit.
[4] The china-stone of Cornwall might, in part at least, be claimed as an old
volcanic rock, and that used in the Imari district of Japan is distinctly of volcanic
origin. Both these rocks, however, consist essentially of a mixture of quartz and
felspar.
[5] For further details consult the authorities quoted in the Handbook of the
Jermyn Street Collection, p. 5; for sections showing the relation of the beds of kaolin
to the surrounding rock, see Brongniart’s Traité des Arts Céramiques, vol. i.
[6] It is to the scattered notices and essays of Mr. William Burton that we must go
for information in this country. In his new work on English Porcelain he does not
treat upon this side of the subject.
[7] The most complete work on the processes of manufacture is now Dubreuil’s La
Porcelaine, Paris, 1885. It forms part forty-two in Fremy’s Encyclopédie Chimique.
This volume brings up to date and replaces in some measure the great work of
Alexandre Brongniart, the Traité des Arts Céramiques (two volumes, with a quarto
volume of plates), Paris, 1844. M. Georges Vogt in La Porcelaine, Paris, 1893, gives
valuable details of the processes employed at Sèvres.
[8] The cailloux of the French. This material is often described as felspar, but I
think that quartz can seldom be completely absent.
[9] I should, however, be inclined to class not only much of the porcelain of Japan,
but some of that made in Germany and in south-west France, rather in the ‘severe’
kaolinic than in the intermediary class of M. Vogt.
[10] We can, however, distinguish, in the tomb paintings of the Middle Empire, an
earlier form without the lower table. This earlier type, moved by hand from the upper
table, was that used by the Greeks at least as late as the sixth century B.C., and a
similar primitive wheel is still used in India. On later Egyptian monuments of
Ptolemaic time, the potter is seen moving the wheel by pressing his foot on a second
lower table, as now at Sèvres and elsewhere. Both forms of wheel appear to have
been used by the Italian potters of the Renaissance.
[11] This seam is often visible on vases of old Chinese porcelain, and may be
taken as a sign that the object has been moulded.
[12] Porcelain in China followed, as we shall see, in the wake of the more early
developed arts of the bronze-caster and the jade-carver. Hence the prevalence in the
early wares of shapes unsuitable to the wheel.
[13] I think that this is a more practical division than the one made by M. Vogt and
adopted by Dr. Bushell.
[14] An important exception is to be noted in the case of the firing of large vases in
China.
[15] A good instance of the first case is the finding of crow-claws in the rubbish-
heaps of Fostât or Old Cairo. As to the method of support indicating the place of
origin, see what is said below about the celadon ware of Siam.
[16] There is only one exception of any importance—the porcelain of Chantilly,
much of which has an opaque stanniferous glaze.
[17] So we can infer from the magnificent wall decoration of the Achæmenian
period brought home from Susa by M. Dieulafoi.
[18] A glaze of this nature was in the Saracenic East applied to a layer of fine
white slip, which itself formed a coating on the coarse paste. Such a combination,
often very difficult to distinguish from a tin enamel, we find on the wall-tiles of
Persia and Damascus.
[19] Metallic gold has, of course, been applied to the decoration of porcelain in all
countries.
[20] The colour of the ruby glass in our thirteenth century windows has a very
similar origin. In this case the art was lost and only in a measure recovered at a later
period. As in the case of the Chinese glaze, the point was to seize the moment when
the copper was first reduced and, in a minute state of division, was suspended in
floccular masses in the glass.
[21] With these colours a dark blue is sometimes associated. Is this derived like the
turquoise from copper? It is a curious fact that we have here exactly the same range
of colours that we find in the little glass bottles of Phœnician or Egyptian origin, with
zig-zag patterns (1500-400 B.C.).
[22] See Vogt, La Porcelaine, p. 219. The problem is really more complicated. For
simplicity’s sake we have ignored the changes that take place in the glaze that lies
between the enamels and the paste.
 [23] The same result may be obtained by painting one colour over the other, as we
find in the black ground of the famille verte.
[24] In Persia, where for three centuries at least the Chinese wares have been
known and imitated, the word chini has almost the same connotation. See below for a
discussion of the route by which this word reached England.
[25] During the eighteenth century, however, the French missionaries remained in
friendly relation with the Chinese court, especially with the Emperor Kien-lung, a
man of culture and a poet. The Père Amiot sent home not only letters with valuable
information, but from time to time presents of porcelain from the emperor. He was in
correspondence with the minister Bertin, who was himself a keen collector of
porcelain. See the notes in the Catalogue of Bertin’s sale, Paris, 1815.
[26] Thanks to the industry of the present curator, Herr Zimmermann, the same
may now be said of the great collection at Dresden.
[27] For a discussion, and for many illustrations of the art of these early dynasties
which survives chiefly in objects of jade or bronze, see Paléologue, Art Chinois,
Paris, 1887.
[28] The wild statements as to the transparency, above all, of the Sung and even
the Tang porcelain may, however, appear to receive some confirmation from the
reports of the old Arab travellers. But how much credence we can give to these
authorities may be gleaned from a description of the fayence of Egypt, by a Persian
traveller of the eleventh century. ‘This ware of Misr,’ he says, ‘is so fine and
diaphanous that the hand may be seen through it when it is applied to the side of the
vessel.’ He is speaking not of porcelain, but of a silicious glazed earthenware!
[29] Pekin Oriental Society, 1886; see also Bushell’s Ceramic Art, p. 132 seq.
[30] See the passage in his History (chapter ix.) where this stern censor, referring
to the passion for collecting china, rebukes the ‘frivolous and inelegant fashion’ for
‘these grotesque baubles.’
[31] The name Céladon first occurs in the Astrée, the once famous novel of
Honoré D’Urfé. When later in the seventeenth century Céladon, the courtier-
shepherd, was introduced on the stage, he appeared in a costume of greyish green,
which became the fashionable colour of the time, and his name was transferred to the
Chinese porcelain with a glaze of very similar colour, which was first introduced into
France about that period.
[32] Julien translated the word ching as blue, an unfortunate rendering in this case,
which has been the cause of much confusion. He was so far justified in this, in that
the same word is used by the Chinese for the cobalt blue of our ‘blue and white,’
while it was not applied by them to a pronounced green tint.
[33] I shall return to this point when treating of English porcelain.
 [34] Somewhat later the Chinese were for a time neighbours of the Sassanian
empire, where the arts of glazing pottery and making glass were highly developed.
Sassanian bronzes, and probably textiles, have found their way to Japan.
[35] The salt-glazed ware of Europe seems to be the only important exception to
this perhaps rather sweeping generalisation.
[36] It is possible, however, that some of the various tints of brown used from
early Ming times, especially that known to the Chinese as ‘old gold,’ may have been
suggested by this copper lustre. The ground on which this lustre is superimposed in
some old Persian wares is of a very similar shade. Dr. Bushell mentions a tradition
that the old potters tried to produce a yellow colour by adding metallic gold to their
glaze, but that the gold all disappeared in the heat of the grand feu. They had
therefore to fall back upon the or bruni.
[37] Consult for this ware the beautifully illustrated monographs of Mr. Henry
Wallis on early Persian ceramics.
[38] The cobalt pigment itself, when not of native origin, was known to the
Chinese in Ming times as Hui-hui ch’ing or ‘Mohammedan blue.’ The other names
for the material, sunipo and sumali, probably point in the same direction.
[39] A little white oval vase, in the Treasury of St. Mark’s, at Venice, may possibly
be of this old Ting ware. The decoration is in low relief, and four little rings for
suspension surround the mouth. In any case this is the only piece in this famous
collection that has any claim to be classed as porcelain.
[40] The style of this cloisonné decoration is almost identical with that seen in the
two magnificent lacquer screens with landscapes and Buddhist emblems at South
Kensington. The chains of pearls and pendeloques are characteristic of a style of
painting often found on the beams and ceilings of the old Buddhist temples of Japan.
This is, I think, a motif not found elsewhere on Chinese porcelain.
[41] The late M. Du Sartel gives in his work on Chinese porcelain good
photographs of some jars of this class in his collection. He was one of the first to call
attention to this ware.
[42] This dull surface is especially noticeable in some of the specimens with
Arabic inscriptions in the British Museum; these date from the Cheng-te period
(1505-21).
[43] In Persia, too, and in that country accompanied by many other varieties of
Chinese porcelain. For examples of these wares see above all the collection at South
Kensington.
[44] Relations des Musulmans avec les Chinois. It is not impossible, however, that
further research may bring to light some information on this subject. Since writing
this I hear from Dr. Bushell that some specimens of Saracenic enamelled glass,
presumably of the fourteenth century, have lately been purchased in Pekin. The Arab
trade with China was probably never more active than in the first half of the fifteenth
century. It is with the Memlook Sultans, then ruling a wide empire from Cairo, that
we must associate most of this enamelled glass, and the Eastern trade was in their
hands.
[45] See Bushell, p. 454.
[46] Note that cobalt as an enamel colour was not applied on porcelain during
Ming times.
[47] There is, however, a curious old bowl in the Salting collection with the nien-
hao of Cheng-te (1505-21), on which a design of iron red, two shades of green, a
brownish purple, and a cobalt blue of poor lavender tint, all these colours over the
glaze, is combined with an underglaze decoration of fish, in a full copper red. Note
also the early use of a cobalt blue enamel, sur couverte, in the Kakiyemon ware of
Japan.
[48] Much of this kind was translated by Julien, and a good summary may be
found in Hippisley’s paper contributed to the Smithsonian Institute, but the
information from the same and other sources is more accurately translated and
critically analysed in the seventh and eighth chapters of Dr. Bushell’s great work.
[49] Yung-lo, according to the Chinese reckoning, did not commence his reign
until the new year’s day following the death of his predecessor (1403). I have,
however, thought it better to adopt the European method of reckoning dates.
[50] The name Sentoku that they give to it is the Japanese reading of the characters
forming this emperor’s name.
[51] We may mention that a pair of wide-mouthed vases of this ware, shown at the
Burlington Fine Arts Club in 1896, bore the nien-hao of Kia-tsing (1521-66) inscribed
round the mouth.
[52] More properly a fresh name was given to the period, but for the sake of
brevity we here as elsewhere identify the emperor’s name with that given to the nien-
hao.
[53] The Trenchard bowls, mentioned below, belong probably to this or to the
following reign.
[54] But this name is also applied by some to the older Su-ma-li blue.
[55] Perhaps the earliest nien-hao on a piece of blue and white in which we can
place any confidence.
[56] A predecessor of his as viceroy and superintendent at King-te-chen was Lang
Ting-tso, from whom the famous Lang yao, the sang de bœuf, had its name, though
this derivation is not absolutely certain. It could only have been quite in the last days
of the latter viceroy’s rule that much good work was turned out from the kilns.
[57] It will be observed that the turquoise blue and the green, both derived from
copper, so happily combined in the wall-tiles of the Saracenic East, are in China
rarely found united in the decoration of the same piece, and this arises from practical
difficulties connected with the fluxes and the firing. At least the two colours are never
successfully combined, for the attempt was apparently made in Ming times, and of
this some instances are given in the following note. Indeed I should be inclined to
regard such a combination on any piece as an evidence of early, probably of Ming,
origin.
[58] I would especially point to a remarkable water-vessel, about ten inches high,
in the collection at Dresden. This vase is in the form of a phœnix. Green, as well as
turquoise, purple and yellow are all found in the decoration, and the colours are all
well developed. There is in the British Museum—a collection in many ways
remarkable for the number of exceptional types illustrated—a jar with cover, of this
class. The ground is a dull purple covered with small spirals of black; the rest of the
decoration—rocks, waves, flowers, and jewels—is mainly green of two shades with a
little yellow. On some of the flowers, however, we see a poor attempt at turquoise
blue. Next to this example stands a baluster-shaped vase with tall, straight neck (Pl.
vii. 2.). The ground is here of a pale greyish yellow, with crackles of a darker shade—
so far, in fact, of a Ko yao type. The decoration is of a predominant leafy green, with
a little purple and yellow here and there; but on the flowers we find, in addition, an
enamel of turquoise, poor in colour, indeed, but certainly a copper blue. Both these
examples are classed as Ming, and both would seem to show that the combination of
the turquoise enamel (essentially a silicate of copper and soda) with the lead-fluxed
green had been attempted in Ming times. It was, however, impossible to obtain
satisfactory results in this way, so that in Kang-he’s time the turquoise was reserved
for the demi grand feu, and the green alone used as an enamel over the glaze.
[59] ‘Muffle-colours,’ of course in these later examples painted over the glaze, and
therefore to be classed as enamels.
[60] In this respect we may compare such decoration to a dark water-colour
drawing on white paper, where advantage is only taken of the white ground for
scattered lights here and there.
[61] We must always think of this great man in connection with his contemporary
in France, Louis xiv. Omitting the early years of the French king, before he attained
his majority, the two long reigns run almost exactly together.
[62] This list is to be found in Julien’s book. Dr. Bushell has since given a more
accurate translation, accompanied by a careful analysis (Chinese Ceramics, chapter
xii.).
[63] The red paste of early times was, however, imitated, and a ‘copper paste’ is
also mentioned in connection with these old wares. The last expression is obscure, but
it has certainly nothing to do with an enamel on copper.
[64] On the other hand, on some large showy vases of this time we can trace a
series of rings, giving an uneven surface. These are caused either by the undue
pressure of the potter’s fingers (vissage), or perhaps in part by the way in which the
successive stages of the jar were built up with ‘sausage-shaped’ rolls of clay.
 [65] How this iron red was manipulated, apparently at a transition period, so as to
obtain an effect approaching that of the rouge d’or, is described on page 162.
[66] A ruby-red can be obtained by careful manipulation from gold alone. We may
regard the addition of tin as a convenient method of developing the colour which was
apparently known to the mediæval alchemists.
[67] It would be a point of special interest to determine the date when these two
colours—the pink (used as a ground) and the opaque turquoise blue—were first used
in China. Their presence together with the lemon-yellow gives perhaps the first note
of a period of decline. There is in the British Museum a bowl and saucer covered on
the outside with this rose enamel and bearing this unusual inscription—‘the Sin-chou
year occurring again.’ This expression was referred by Franks to the sixty-first year of
the reign of Kang-he, when the cyclical year in which his reign began recurred again,
an unprecedented fact in Chinese history. In the same collection is a saucer-shaped
plate with a pale pink ground with the mark of the period Yung-cheng. But the
evidence in favour of a somewhat later date for the fully developed use of the rouge
d’or seems to me fairly strong. Dr. Bushell, however, tells me that he has seen other
examples where the same inscription is found upon ware decorated with the rouge
d’or, and that he accepts the early date (1722) on the Sin-chou plate. I return to this
question on page 136.
[68] Julien omitted this curious passage in his translation as devoid of interest!
[69] There are two magnificent vases of the black lacquered ware, each about eight
feet high, in the Musée Guimet, and of the brown variety a well-preserved spherical
bowl may be seen at South Kensington.
[70] The snuff-bottles of the Chinese represent the inro of the Japanese. Both were
originally used for pills and for eye medicine.
[71] Dr. Bushell tells us that she is an accomplished artist and calligraphist, and
that her autograph signature is much valued. She is said to have sent down from the
palace, to be copied at King-te-chen, bowls and dishes of the time of Kien-lung, just
as that emperor in his day forwarded from Pekin examples of Sung and Ming wares
with the same object. So the old tradition is kept up!
[72] These references are to the plates of marks at the end of the book.
[73] See, however, p. 110 note, for a curious instance of its use.
[74] A good example of a date-mark of Wan-li in this position may be seen on the
vase reproduced on Pl. vii. Fig. 2.
[75] Why, by the way, do we find, in catalogues otherwise well edited, porcelain
ascribed to the Kang-he dynasty? One might as well speak of the Louis xiv. dynasty.
[76] At least such was the case when the Canal was in working order. For some
time since, the Grand Canal has only been navigable when the country is flooded.
 [77] I cannot find the exact date of the first publication of these letters. In the
eighteenth century we find them generally quoted from Du Halde.
[78] This is a passage made use of by Longfellow in those often-quoted lines
beginning—

‘A burning town, or seeming so,

Three thousand furnaces that glow,’ etc.

[79] If we are to understand by this ‘transparent pebble’ some form of arsenic, for
it would seem that arsenic (and not tin as with us) is the base of the opaque white
enamels of the Chinese, it is difficult to believe that so volatile a substance could be
thus prepared.
[80] For the use of steatite in English porcelain see chap. xxii. At Vinovo, in
Piedmont, another magnesian mineral has been employed for the paste.
[81] In the following summary I have kept to the Père D’Entrecolles’s words as far
as possible, but with considerable abbreviations.
[82] We must here think of the more sober famille verte lantern at South
Kensington, rather than of the magnificent specimen of pierced work in the Salting
collection, which is of later date.
[83] The unique bowl of Chinese porcelain illustrated in Du Sartel’s book, of
which the outside is decorated in black and gold in imitation of the Limoges enamel
of the renaissance, may have had some such origin. This piece, on which even the
initials of the original French artist have been copied, was formerly in the Marquis
collection, and is now to be seen in the Grandidier Gallery at the Louvre.
[84] We have already alluded to this point, à propos of a bowl in the British
Museum; see p. 110 note.
[85] This branch of the subject is fully worked out in chapter xvii. of Dr. Bushell’s
work.
[86] When compared with a similar collection of European wares, perhaps the
most noticeable difference is the small number of vessels adapted to pouring. So
much is this the case that when we find a spout or lip on a specimen of Chinese
porcelain, the piece takes at once a somewhat exotic aspect, and we are reminded of
the Arab Ibraik, or the European ewer.
[87] It is a curious fact that London chemists now send out their pills in little glass
bottles almost identical in shape and size with these Chinese yao-ping.
[88] The word is used in a restricted sense as explained above.
[89] We have far too often to fall back on names of French origin. Our colour-
vocabulary in the case of the enamels and glazes of porcelain is a sadly poor one.
 [90] In the case of some monochrome ware the colour may have been painted on
the raw paste or on the biscuit, and a colourless glaze then added; or again, as in the
case of the coral red mentioned below, it may be painted like an enamel over the
glaze.
[91] It must, however, be remembered that this carved lacquer itself is sometimes
applied as a coating to porcelain in China.
[92] It would be convenient to have a name to include the whole series—the
flambé, the sang de bœuf, the lavender Yuan, and perhaps also the peach-bloom and
the ‘robin’s egg.’ I would propose to include all these classes under the head of
transmutation glazes.
[93] A French writer compares the effect to the ‘palette d’un coloriste montrée
sous un morceau de glace’ (E. de Goncourt, La Maison d’un Artiste).
[94] There were many kinds of ‘furnace transmutations’ known to the Chinese,
mostly of a miraculous nature (see Bushell, p. 219).
[95] When applied to the whole surface, a similar slip forms the ground on which
the decoration is painted in the case of many kinds of European and Saracenic
fayence, but in such ware the slip is used to conceal a more or less coarse and
coloured paste.
[96] It may, however, be noticed, on close examination, that the crackles do not
seem to be developed in the lower glaze covered by the slip. This would rather point
to both the first and the second coats of glaze, as well as the intermediate slip, being
all applied before the firing.
[97] Not that we need claim any great age for these plates, but it is in such places
that old types (as e.g. the celadon) are likely to continue in fashion.
[98] We may perhaps connect the first steady export of ‘blue and white’ direct to
Europe with the establishment of the Dutch at Nagasaki, where they probably
employed Chinese workmen.
[99] So what is by far the most successful imitation of Chinese ‘blue and white’
ever produced in Europe was made by the Dutch, in the enamelled fayence of Delft,
about the middle of the century.
[100] In Japanese art also we find the prunus as a symbol of the approaching
spring, but there the branches are covered with freshly fallen snow. The contrast of
the weather in early spring, in China and Japan respectively, could not be better
expressed—by ice in the one case, by soft thawing snow in the other.
[101] Dr. Zimmermann, the curator of the Dresden Museum, regards the black
division of the famille verte as a product of the demi grand feu, i.e. he holds that the
black and green was painted on the biscuit. But this is certainly not the case with the
fully developed examples. I may say that this class is only represented at Dresden by
some small roughly painted plates.
 [102] We find it so used, however, upon the Japanese ‘Kakiyemon’ porcelain,
some of which cannot be much later than the middle of the seventeenth century.
[103] Since writing this I have discovered a tall-necked bottle of this ware at South
Kensington, which is stated to have been purchased in Persia (Pl. xx.).
[104] That is to say, no attempt was ever made to imitate the material—the hard
paste.
[105] An important collection of armorial china was bequeathed to the Museum in
1887 by the Rev. Charles Walker.
[106] This plate belongs to a group in which the arms, above all the mantlings, are
in the style of the seventeenth century. On these the gules is always rendered by an
opaque iron-red, although the new rouge d’or is freely used in the rest of the
decoration. I learn from my friend Colonel Croft Lyons that the arms on this plate are
those of Leake Okeover, who was born in 1701. The initials, repeated four times on
the margin, L. M. O., stand for Leake and his wife Mary. The plate, therefore, cannot
well have been painted before, say, 1725.
[107] This class of Kuang yao must not be confused with the old heavy pieces of
Yuan ware mentioned on p. 77.
[108] I quote, with a few contractions, from the edition of 1774.
[109] I have examined the Korean pottery in the British Museum, at Sèvres, and
that in some of the German museums, but I have not seen the specimens in the
Ethnographical Museum at Hamburg, which are said to be very remarkable.
[110] For an account of the exploration of Sawankalok, see Man, the volume for
1901. By the kind permission of Mr. Read I have been able to closely examine the
specimens which are now deposited in the British Museum.
[111] We may mention that the Japanese appear also to give the name of Kochi to
other wares, especially to the deep blue and turquoise porcelain with decoration in
ribbed cloisons which we have attributed to early Ming times.
[112] We may compare with this the impulse given, some four hundred years later,
in Europe, to the spread of the use of porcelain at the time when tea was first
introduced in the West.
[113] See page 66. This Sung ware is known to the Japanese as ‘Temmoku,’ and is
highly esteemed by them.
[114] Many, however, of these so-called Jesuit plates were probably painted at
King-te-chen at a later date. Christianity was finally and ruthlessly crushed in Japan
after the rebellion of 1637: in China it was tolerated up to the close of the reign of
Kang-he (1721). I must refer back to a quotation from the Père D’Entrecolles given
on p. 133. See also a curious note in Marryat, where a statuette of Quanyin, with the
boy patron of learning, is described as ‘a Virgin and Child.’—Pottery and Porcelain,
p. 293.
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