^tkiY “ effect, as appeared froril their own - performances with
Vr,the pen’cil: - When, likewise,.1 sevrerallportraits by the
Yobest’- European artists; intended as-.presents forrlthe
“ ’Empfef«^ wbie exposed to view, the mandarines ob-
“ “ -serving the variety!of tints occasioned !by. the light
“ and shader ashed whether th©origIn.als :had the right
“ and left sides'of the figure of different'colour&? T h e y
. “ iMijnsiderteh the shadow of the. nose as a g i^ t f impfer^
^r&etion in the picture; and some'supposed it to hake
vitMerf placed there by accident. An Italian missionary
at' the court of Pekin, of the name af*Gastl^lie®ie£ who
“ was an excellent pain ter, received orders drank the
“ Emperor to paint for him several pictures.; but jt
“ was intimated to him at the same time, to imitate the
“ Chinese style of painting, and not . that-of Europe-;
^‘- Which was considered as unnatural. - Accordingly, in
4 the performances meant to decorate the palace; ifebuses
“ above houses-are seen in regular gradaHon/to‘thek top
“ of the picture; figures: in the fore and back ground
o are all of the samesize,-setting, in fact,' nature arid the
“ serisesat defiance.?'He also painted a set o f chaEa^tefs
“ occupied in the different trades of China. The-pencil-
“ ling- and colouring of these 'were incomparably well
“ executed ; but for want of the proper shadows, the
“ whole was without effect-.- Yet they please the Chihese
“ in preferences any specimen of the arts that could be
‘ ‘ brought from Europe.”1
, »The > Chinea^|indeed^fe'"em j fcd ^Otpsidea^shade as an
aciudentalhci-nQuiiriMiEicEywhich taught not tbVjjpfeS'Garried
from• ©aterfe;toiilpfetuk6, from whiehiititiikes a why* a part
of^he 'eelatjahd innifemlfyipf><lbf<$ilrifflgfl and
reptes^najation ©foobj
fed harvimg>dh&m.drawn;.-not? Is**th€’p|pfp ca rA
gradually diminishing sas the^fejlle^rtomvi^ b#fc ofjlEteir
a®tual $i z^ipnOfeernaln ed ibyitb^jtid gmeri fejeb^^fljlgdhe
erforsu©f's]^tk.e®rori©dee^ssiryyihQ#^b^p)^ib^|'eau.(ry
and cojrsistehoyiiMi landSedpb-
The* ill'e fleet;ol paintings executed1 in»comfoi
§pDhdnati‘0n sv musVopdroate?3;si as<disfebam^e^ii^p^:to -the
art. In ilieu of pictosrers, -the; hduses5(atecsupp]ife^##ith
tabktSY‘0p'm©fa<kisentewces,?paintedb'bn^wS)©fe^{ffiilk>iri
the* neatest marihe-i•; and these* aicxh e mcd'pit lerabldfttt
theiwbrks ibf ‘theplfeslnM^ff^;'bTho the ChipeMifail
in grouping figures, and in 'eYery-^a'Pt»r©J composition
anddesignj th e y lid i^ se ^ n drawingidndikidual
They areipaiticularly happy1 iriJ thfeulelUncation ol .ml1
tural histbry; ‘the different s ufeJeG'&S-hppe^fipgInfotJ.eri'l'y
correct^ but- with th© Jea t urJsandSiaittllu'dSi^.nafrure;
and with an cxactnt sWso-'rffinufcV that* a-( liwicVc painter
sometimes reckons*’the 'number of:istM^^p©;n®va'ifish
which' he is tairepEeient; the who® wMtfhs.brilliahcy
ofiscblouiring, the*mDrb,surprlsisng,<as’ it*ii%&uh.d!tg)flbe
owing*to the more -pafiehl and5^£e@' levigating df,
the ’samiet pigments- whichj&rei used-in Eu^pf^'.S;ome
Pekin.