The collection of Oriental porcelain is not easy, especially with regard to the finer productions. The old figures, vases and dishes made hundreds of years ago, decorated with taste and skill beyond all comparison, these can be purchased only by the few. But there are many genuine old pieces still unrecognised, but valuable, each telling its own story, and that story one that can be learnt. We said that there were dangers to the collector, and this is true; for centuries the Chinese and Japanese have reproduced with minute accuracy the early productions--the Ming and the Kang-he--and the European factories have, in these later times, poured out upon the market many marvellous forgeries which would deceive, possibly, the very expert. The German imitations are passable, but those produced in France, especially in Paris, are so excellent that it would be well for buyers to judge of them, by daylight only--in fact, in buying any fine porcelain this rule should be adhered to. Remember this, there is no forgery existing which would deceive an expert worthy of the name, as there is, without exception, always a failure in some point, either in the colouring, glazing, paste, or drawing, which betrays the copy to a thorough student of Chinese porcelain. The best imitations are those made in Hungary about forty to fifty years ago; the German copies by comparison are very inferior and weak. Never buy by artificial light, for "colours seen by candle-light do not look the same by day." Marks on porcelain should always be ignored, except when the piece bearing the said mark is beyond doubt; it is an added interest to have a mark of the proper period. Not alone are patterns forged, but marks are forged; hence when pattern and mark both agree with the old example, something more is required than a mere superficial knowledge of pattern and mark--that is, the paste or body has to be known, and more, the eye has to be trained so as to distinguish the special character of the piece--in fact, it is the _tout ensemble_ which to the finest judges is the surest guide. They cannot tell why they know, but by a look they do know. It may be that the atmospheric influences extending over long years has softened and modified the colours and taken from them their boldness, so that when paste and glaze and colour all please the trained eye the purchase may be made in safety. And here we should advise our readers rather to buy from a respectable dealer than at auction sales. In the excitement of auction sales higher prices may be paid than would be prudent, or, indeed, it may be that the quality of the specimen bid for is not exactly that which the buyer requires, and the difficulty of changing it is accentuated when the purchaser buys at an auction. In fact, to a beginner with money to spend, no advice can be better than that he should put himself in the hands of a respectable dealer, informing him of his wants, telling him the price he is prepared to pay, and leaving him to deal squarely and fairly. Not only is there danger of the marks being forged and the pattern copied, but really old pieces of Oriental porcelain are often redecorated, so that upon an old piece is found the most elaborate decoration. This to the collector is most puzzling. He sees the porcelain is rare, and, as we have said, really old, and that the pattern and colour of the decoration is what he has been accustomed to either at Exhibitions, such as those in the National Museums, or in illustrations as given in the best books, yet the specimen is not right and it can be tested. The enamel decoration on a re-decorated piece produces a different effect from that upon an old piece. In the latter the enamel colours do not stand out like modern oil painting, but they lie flat and agree in general character and tone with the porcelain itself. Sometimes, in these re-decorated pieces, traces of the old decorations, covered up under the modern enamel decorations, may be found.