PORCELAIN DECORATED
tation. Many pieces dating from that era show beauty and technical excellence. But the art had taken a distinctly downward tendency, which became more and more marked in the next period, Taou-kwang (1821–1851). The porcelains of the latter, with few exceptions, are comparatively coarse and meritless. The impure colour of their blue decoration accords well with their faulty technique. This unsatisfactory state of affairs culminated in 1852, during the Hien-fung epoch (1851–1862), when the factories at Ching-tê-chên were destroyed in the Taeping rebellion. They were subsequently restored, and are at present tolerably active. But it is difficult to trace any affinity between the wares now produced and their admirable predecessors of the Chien-lung and Kang-hsi periods. Doubtless the decadence which commenced during the reign of Chia-tsing is to be attributed to the troubled state of the empire. In China the prosperity of the keramic industry appears to have been practically dependent upon imperial patronage. Under the Sung, Yuan, and Ming dynasties alike intervals of difficulty and disturbance preceding the downfall of the reigning house were synchronous with a decay of the potter's art. The analogy holds for the Tsing dynasty also. When Chien-lung's successor ascended the throne, he found the empire at the zenith of its power and renown. Elements of disturbance, though always existing, had been successfully held in check by the clear judgment and iron will of the great ruler. They speedily eluded the feeble control of Chia-tsing. Before he had been half a dozen years in power, the treason of secret societies was already becoming formidable. In 1803 he achieved the notoriety of barely escaping from a murderous at-
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