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Men may admire, may go wild over beautiful faces;
| Dim were the eyes of the maiden, and on her dark lashes Women must choose with discretion, with sober far-seeing. Shimmered a tear-drop; but quickly dispelling her sadness, Woman must fail without man, for her life is dependent; Laughing, meanwhile, at her fancies, she caught up the Men may exist without woman, if apt in self-serving.
paring, Therefore, you see, my dear child, that when father and Tossed it, full length, o'er her shoulder, and, eagerly turuing, stranger
Watched it descend on the floor, and its slow, viscous spirals Sue for the faith of a maiden, her trust should be given, Settle at last in the form of a fancisul letter. Not to the stranger, the alien, but unto that other,
Then she stooped down with a blush of delighted amazeWho has protected and loved her from infancy upward,
ment, Whom she has served in her willingness—he is the true For at her feet lay an “L,” though grotesque in proportion. prince !"
“ Luke!-it is 'he! it is he!” she exclaimed with excite
ment. Now there was sound of swift feet in the footpath approach Ev'n as she spoke she felt a quick shadow flung o'er her. ing,
Startled, she listed her eyes, and behold! 'twas her lover. Also of voices that murmured in childish compassion. He at the window was standing, and smiling so strangely, Straightway a flock of brown faces appeared in the door With mingled pity and pride, on the beautiful maiden. way,
“ Listen, my darling," he said. “In the dusk of the evening Saw the dear sister at home, and poured in all together! You must come down to the shore, at the foot of the beech“ We have been over ten fields !" cried Gillaume, with caresses.
There I will meet you, and if, as I hope, the wind favors, “ Look at the dew on our trousers !—and here you sit, We will sail into the South to our beautiful future !"
talking !" Then did the others assail her with kisses and questions. “ Stay, stay !" she cried. “Speak a word to my poor, trustBut she was silent, and blushed at their innocent pratile.
Ask him once more-only once—for his blessing and favor.” “ Look at the clock !” cried the toll-keeper, hastily rising. “Nay,” he replied, and the fierceness of shame dyed his “ Hurry to bed, one and all, or the sun will not rouse us.". forehead, So they went out; and the fire fell asleep, and the kettle. “He has forbidden my suit, and I never will urge it. There was no sound in the house, save the whispers of So now, my darling, it lies between Luke and your silence.
father— " Even the wind had lain down for a nap ere the sunrise. Ev'n as he spoke, on the young man's broad shoulder Over the island the sky, like a sea-shell, was bending,
descended Roaring with stillness and stars; and the tide of night. Sternly the hand of the sire ; thus they stood for a moment: voices
Luke, the proud lover, with brow like the rain-bringing Ebbed in the pools and the fields; and the brooks were storm-cloud, bedraggled
Holding his breath, and his quivering fingers restraining; With grass; and Lora's dark locks swept the tear-wetted | And the tall father, the locks on his white temples shaking, pillow.
Tossed, but unstirred, like a weather-worn oak on the hill
top. TENTH MOVEMENT.—THE BEGINNING OF THE END.
“ Young man," he cried, and his voice was like storming of Farmer Loroix had returned from the depths of the orchard, dried leaves Bringing his hat full of apples, the first of the season
Whirled by the wind in a cave on the rocks everlasting, Yellow, insipid, and sweet, lacking pungence and flavor, “ Yon is thy bound! at thy peril henceforth shalt transgress Lacking the frost and the spice of the real harvest ripe it! ness.
Lora, my child, I command your obedience also." Still they were welcome, and Lora sat down to prepare Thus spoke the sire, and, with quiet authority, pointed them.
To the low fence that divided the yard from the highway, Round went the knife, and the apples grew smaller and “Why do you stay, stubborn boy? Do you linger to mock smaller.
me? Thus as she watched them, the maiden fell into a study: Go! lest my years are forgotten, and passion unman me !" “ Now I am unrolling life!—I begin at the small end; Then, with a light laugh and scornful, the lover departed, Over and over the apple keeps turning and turning;
Vengeful and slow, and his shadow was still in the door. Round goes the knife, and the rind dangles down like a yard record ;
When he had passed through the gate and was skirting the See! I have come to the stem, and the coil is unbroken !
roadside. So may my days in unconscious completeness be finished; Soon rose the laughter of wheels, full of mocking derision, May I not know when I pass from year's circle to circle, Dying away in a hiss on the sand of the shore-road. But may my life be a pure, perfect whole-love unchanging !"
(To be continued.)
SATSUMA AND KIOTO WARE.
BY ELEANOR MOORE HEISTAND.
in the fine arts, have felt obligated to accept the fiat of taste which has gone forth from the seat of distinguished creative power. We have honestly tried to assimilate our preferences to a proscribed ideal, and, conscious of our shortcomings, we have snatched at the least offensive objects presented for our admiration. Supreme among these have been the two varieties of Japanese porcelain before alluded to. In them are to be found qualities which, while they are only lightly esteemed by the ultra-artistic, yet entitle them to be classified with the new régime. At the same time, they have certain features in which we trace the lineaments of a much-beloved but outlawed style, and which
A NANKIN GOLDFISH CISTERN.
A MONG the nondescript collections of pottery and porcelain with which the late impetus to ceramic art has crowded our emporiums of bric-à-brat, there is no faience more familiar or more popular than the quaint creations of those two famous manufactories of Japan, Satsuma and Kioto, unless we except the vast quantity of pseudo Majolica with which our shops are so liberally stocked. Our taste, of old, was crude enough to rest satisfied with mere beauty in the objets de vertu with which we filled our cabinets; but latterly a superrefined ästhetic appreciation has directed our fancy toward the most bizarre forms of ceramic invention. We run after rococo effects in that artistic frenzy which is so far-sighted as to discern a new and subtle charm in that art whose exponent is the grotesque. This metamorphosis of taste which induces us to rave over the many astounding conceptions of Mongolian art is happily only an affectation, as is evident from our preference for such unaccentuated principles as are expressed in Satsuma and Kioto ware.
We Americans, who are as yet mere imitators
A SOFT PORCELAIN VASE.
It seems hardly necessary to enter upon a de scription of these wares; but, lest the omission be noted, we will venture a reminder that, compared with other kinds of Japanese porcelain, their ornamentation is simple and scattered. The ground is invariably a rich cream, which is the natural color of the clay as it is brought out and enhanced by a clear vitreous enamel. In Satsuma ware, which is the more highly prized, the rarer and more expensive of the two varieties, the coloring of the clay is paler; but this difference is hardly appreciable unless the faience be closely compared with a piece of Kioto. The enamel, which is traversed by a myriad of minute cracks, is one of the strong points in both wares. This craquele effect is a special achievement of Japanese art, as the wonderful cloisonné enamels have likewise been. It was first applied to Satsuma ware, which was manufactured under the patronage of a
A MANDARIN VASE.
are a gracious concession to our outraged taste. To use an expressive though degenerate phrase, they are not too grotesque-just grotesque enough.
A somewhat self-sufficient connoisseur in ceramics observes of Satsuma ware, from which Kioto is hardly to be distinguished :
“Many of the products are very ingenious in form and odd in effect ; but the ware has little to commend it either in beauty or national characteristics."
But here we beg leave to differ. To our thinking, the rich, creamy tints of Satsuma, its curious craquelé enamel, and bamboo twigs in bas-relief, with their slender leaves heavily gilded, are much more pleasing to the eye than the intermingled roses and ribbons, cherubs and doll-faced adults, which are the outgrowth of the French school, or the most fanciful creations of that art whose fundamental principle is the distortion of nature.
A NANKIN VASE AND COVER.
long line of unikados. This variety of porcelain a free hand in the famous Chinese black. The had an origin most remote, and it is therefore drawing itself is more effective than it is correct, possible to occasionally pick up pieces of Satsuma and many are the improvements (?) on nature
which the decorator achieves with his fearless brush. I have noticed, however, that the artists of Satsuma and Kioto do not discard symmetry in their unique designs ; but their idea of symmetry does not signify similarity. Each design has a central figure or object of special prominence, which is flanked by a number of details the sums of which appear to have about the same specific gravity; but on one side there
may be two cranes volant, and on the other 1.
a single ornithological nondescript of twice with dragons and flowers.
the size. There is, however, a suggestion No. 2.- A mandarin vase richly decorated with gold figures, flowers, and birds. No. 3.-Chinese gray crackle vase decorated with blue birds and figures in of equilibrium in the various parts of the No. 4.-A Honan vase with elephant head for handle.
I have in my possession a tête-à-tête set of of real antiquity; but it is a faience which pre- Kioto which I regard as particularly beautiful. serves so well the semblance of youth that the consists of a small tea-pot, a sugar-bowl, a creamdubious question of its age can hardly be discussed pitcher, two cups, and two saucers, the whole being with satisfaction. Kioto is nothing more than an arranged on a lacquered tray. To convey some imitation of Satsuma; but so perfect is it, and so idea of the relative cost of this ware and Satsuma, like the genuine, that its depreciation has no basis I will say that my tête-à-tête set cost me only ten save in the over-nice discriminations of connois- dollars, tray included. The same thing in Satseurs who are apt to assign a fabulous value to suma would cost about three or perhaps four times mere age, and who discard all imitations, no that price. This set, however, is very simply matter how meritorious.
ornamented. The more elaborately decorated The colors used in the decoration of these two pieces are more expensive. Its design is neverkinds of faience are, for the most part, pure, and 'theless a typical one, and, in my opinion, one of are offset by patches of gilding. They run through an octave or so of the chromatic scale, but are applied in such judicious quantities that their variety produces only a pleasing effect. The decoration is wholly superficial, being applied after the enamel has been hardened, except where the fancy of the potter has prompted him to raise in bas-relief a sprig of bamboo, the pinion of a bird, a
8. blade of grass, or an anomalous
No. 5.-A Miaco flower-pot, pale-lustred brown, glazed ground, and white flowers in high relief. flower.
No. 6.- A quaint Nankin blue and white vase.
No. 7–. A Kioto vase, blue ground, white medalions, colored flowers, some enriched with The pigments used are mixed cloisonné enameling.
No. 8.-An Awaji vase, brilliant green, purple, and white “splash" glaze. in a peculiar way, or it may be that after they have been applied they are the most graceful. The shapes of the various coated with enamel ; at all events, they are pieces are very comely, the cream-pitcher in parsmooth and shining, being used merely to fill ticular having a form of unique beauty. This in the outlines of figures and objects drawn with little vessel has been fashioned in accordance with
No. 10 is similar in decoration to the preceding one, and No. 11 shows a Pekin
one of the strangest fancies of the Kioto potter, madness of the Japanese artist which enables him who has destly bent back the sides of the mouth to venture upon the most startling and inharmo
nious effects in color, and yet produce an ensemble of pleasing character.
It is hardly possible for the collector or the every-day buyer to fail to recognize
Satsuma and Kioto ware. True, he is more 10.
than apt to be at loss to determine which is which, but he is morally certain to know whether or not the article he purchases is one of the two. Their style is unique. The characteristics I have pointed out in them are combined in no other faience. Their cream-colored clay and craquelé enamel is not to be mistaken. More than
once, I imagine, some unconscionable dealer No. 9.-- A jar and cover in Hizen porcelain, ornamented in blue and white with “Hawthorn" design intermixed with bamboos.
will cheat you with Kioto when you wish to pilgrim bottle, in enameled colors, painted figures, medallions of birds, flowers, buy Satsuma. It really makes very little No. 12.- A Chinese vase, with white ground and penciled drawings.
difference. It is quite as pretty. Only, on
principle, one doesn't like to be deceived in when the pitcher was yet soft clay in his hands, such a matter. But what are we going to do about and left them to harden into two curled lips that it? Study Japanese, perhaps, in order to be able to quaintly droop over the sides. You will see that decipher the variable hieroglyphics which constilittle touch frequently given to the rims of vases, tute the trade-marks and reveal the names of the to dishes in basket shape, and to many small manufactory and the maker? I hardly think so. pieces of varied utility.
Nor will we be likely to institute such careful and The handles of the Kioto tea-cups which are tedious comparisons as alone can teach us to tell now before me, and of a tall vase that is standing the one ware from the other. We will buy Kioto by, are odd little elbows of porcelain bamboo, and Satsuma indiscriminately, as we buy some of colored a vivid green and with the joints gilded. the beautiful Jones Majolica, and fancy it is the The cups and the rest of the tea-set represent what product of the world-renowned manufactories of appears to me a shallow marsh. In the foreground Majorca or Faenza. And shall we be less æsthetic, there is a plant with long reedy stems and dull-red flowers. Overhead a number of parti-colored crancs, and gilt-winged birds are circling amid sparse little patches of goli clouds. That is all. But the effect is singularly pleasing.
The vase, on the other hand, is literally overrun with flowers which are not unlike our clematis blossoms, but are colored brick-red, and a muddy plum. Down in one corner I see a knot of something that looks like violets, and overhead there is 13,
16. the inevitable stork in giant propor
No. 13.-A Pekin vase, with colored enamel painting in medallions. tions. The centre of the design
No. 16.-A Nankin gourd-shaped vase, with blue and white scroll decoration. consists of two shoots of bamboo, with its long-fingered gilt leaves in bas-relief. I because of this? We opine not, since few can wish I could discover what method it is in the distinguish the true from the false.
No. 14.-A dark-blue Qusaji vase, decorated with white flowers.