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itself, and were admitted to a place among the ornaments of refined households. This last fact, attested by the Missionaries in China during the seventeenth century, confirms the hypothesis mentioned above that the Chinese Famille Chrysanthémo-Pæonéenne borrowed much of its beauty from Japanese models.

Toward the close of the era, that is to say, in the early years of the eighteenth century, decoration of this class underwent a marked change, the characteristics of which are well described by Mr. A. W. Franks as "a prevalence of half-tints and broken colours, together with the appearance of a beautiful ruby red derived from gold." Porcelains thus decorated constitute the Famille Rose of French connoisseurs. M. Jacquemart, to whom this classification is due, falls into a serious error with regard to the antiquity of such ware. "An incontestible fact," he writes ("Histoire de La Céramique," pp. 77, 78), "is henceforth established, that during the Hung-chih period (1488–1515) the Chinese Famille Rose furnished cups of the most admirable pate on which birds, flowers, and insects were represented with the greatest perfection." This misconception is the more surprising inasmuch as the same writer notes that the porcelains sent to Europe by the Jesuit missionaries during the reign of Kang-hsi and manufactured under their very eyes "had nothing in common with even those pieces of the Famille Rose which are considered least ancient." Evidently it did not occur to the distinguished connoisseur that this absence of relationship to the Famille Rose on the part of porcelains sent to Europe in the seventeenth century, might be attributed, not to the disuse of colours employed during the two preceding centuries, but to the