If the Chinese have not yet returned to that state where they have forgotten entirely the art of making porcelain, at least they have lost the secret of those admirable productions--the forms so pure, the glazes so marvellous, the enamels so sparkling, the decoration so diversified, and the paintings so exquisite--which remained with us as monuments of an age when there must have been such art in the Ceramic world as has never been seen since. It will be advantageous to say something about the collections at Limoges and the lessons we may learn from them. The first place in the collection is given to the white china known throughout the world as "_blanc de chine_." This kind of porcelain was highly esteemed in France, and the Oriental artists and potters from a material which seemed to offer but little resource proceeded to work wonders. By the side of the small sacrificial cups destined for religious uses with the glassy glaze and a tone which recalls that of wax or ivory, in the form of the horn of the rhinoceros or of the flowers of the lotus, which was the plant pre-eminently sacred, one is able to admire examples perfect in execution of which the texture is so thin and fine that it seems dangerous even to touch them. The greater part is decorated with ornaments in white or in white slip, which by a few simple strokes, or by a delicate tracery, almost inconceivably beautifies the limited surface. Garlands and detached bouquets of flowers have been engraved upon the wet or the dry clay so finely--indeed, so exquisitely, that they cannot be seen unless held up to the light. Here the sacred dragon winds round the cup as if he wished to defend it from profane hands, and a Buddhist god only appears when a coloured liquid is poured into the cup, which then shows up the lines, before invisible, engraved in the paste.
Again, we find little bottles decorated with dragons and symbolical dogs of Fô or Buddha cut deeply into the paste with a patience and an art unequalled in the productions of the Western Hemisphere. The statuettes of the gods and goddesses are also made in this white porcelain, amongst whom is one to whom we have before referred, Kwan-Yin, a mysterious being, the personification of mercy and goodness, who protects the sailors and saves them from shipwreck, who takes pity on those who suffer in hell and intercedes for them. She also gives children to those who are sterile.