could not buy a dozen scrolls without at least one Tzï-ang (Chau Möng-fu) and two Tang Yins or K'iu Yings. I, for one, prefer a copy, honestly called so, by a decent artist ten times to a doubtful original.

38. Shang-kuan Chóu (†, also called Chu-chuang,†), born in 1664 at Ting-chóu in Fu-kién, made his reputation as a landscape-painter by a picture of the sacred hill Lo-fóu-shan near Canton. But he was also a great portraitist in the Chinese sense. He drew the outlines of all the greatest national heroes, both of the sword and the brush, cut them in wood and published them in 1743 under the title Wan-siau-tang Chu-chuang-huachuan (†), a series containing some of the best work of Chinese illustrative art. I have on a former occasion (Ueber fremde Einflüse in der chines. Kunst, p. 61) drawn attention to one of Chu-chuang's portraits, that of the hero Ti Tsing (11. century, Giles, Biogr. Dict., N° 1910), being probably copied from a Foreign portrait. In his scroll work he cultivated, and possibly created, a special style of human figures, hoary old men, in which specialty his pupil Huang Shön appears as a continuation of his own genius.

39. Huang Shön (, also called Ying Piau,, and

Kung-mau,), a native of Fu-kién, of low parentage, was a talented poet, painter and calligraphist in the running hand style. He travelled about for years in the lower Yang-tzi region and lived eight years in Yang-chóu, where he was particularly well received. He chiefly cultivated human figures, in which his countryman Shang-kuan Chóu had been his instructor. Hoary were his own province, and he gave them "life's motion”(畫人物蒼老生動). One of these old men in my collection is dated 1726, another one 1746. These dates.

old men

probably describe the period of his greatest activity as a painter.

In old age he chiefly drew Tauist and Buddhist figures with a bold rough brush and in large sizes.

40. Lo Ping, also called Liang-föng,), born at Yang-chóu in 1733, lived many years in Peking, where he enjoyed some reputation as a painter of demons and sprites. His best work is an imitation of Wu Tau-tzï's celebrated hellpicture. He also painted portraits, chiefly ladies. He died in 1799. 41. Tung Pang-ta (, also called Fu-ts'un,, and Tung-shan, ), a native of Fu-yaug near Hangchow, took his degree as tsin-shï in 1733, studied the old masters, especially Tung Yüan, Kü-jan and Huang Kung-wang, entering deep into the spirit of their works, and died as Secretary of State at Peking in 1769. My collection contains a copy made by him of a landscape of Shön Chóu (Giles, p. 156). He took an active part in several of the Emperor Kién-lung's publications, especially the great catalogue of bronze works in the Imperial Museum, the Si-ts'ing-ku-kién.

42. Ts'iến K'un-i (, also called Tsai,, and T'o-shï,

籜石), a native of Kia-hing near Shanghai, born in 1708,

took degrees in 1736 and 1752 (tsin-shi), and died in 1793. He was fond of learning and wrote poems, but also distinguished himself as a painter in the style of Ch'ön Shun, the black and white master of the Ming (Giles, p. 160). His forte was that of a painter of flowers, especially those graceful leaves of the orchidaceous family described by the Chinese as lan-yé(), which made his reputation.

43. Hü Pin () of Chinkiang, lived about the middle of the 18. century and was known as a good scholar and painter.

44. Fang Hün (†, also called Lan-ch'ï,, and Lan-shï, 蘭士) ) was born in 1736 at Shï-mön (Chö-kiang) as the son of Fang Süé-ping(), a well-known poet and artist,