irect conflict with the technique of bas-reliefs and leads
to the surmise that the models were drawn by painters and copied with
more or less skill by makers of funeral monuments.

[4] These bas-reliefs have been studied by M. Chavannes in "La
sculpture sur pierre en Chine au temps des deux dynasties Han," Paris,
1893; also in "Mission archeologique en Chine," Paris, 1910. Rubbings
taken from the sculptured slabs are reproduced here in full.

[Illustration: PLATE VI. PAINTING BY AN UNKNOWN ARTIST
T'ang Period. Collection of R. Petrucci.]

This impression is confirmed if certain carved slabs are compared with a
painting by Ku K'ai-chih, of which we can judge by means of a copy made in
the Sung period.[5] One of the scenes of this long scroll leaves no
possible misapprehension as to the pictorial origin of the Han
bas-reliefs. Its subject, a river god on a chariot drawn by dragons, is
similar in composition to the models used by the artisans of the third
century.

We have, however, better testimony than a copy made at a later period. The
British Museum, in London, is the owner of a painting attributed to Ku
K'ai-chih. The reasons impelling us to believe in its authenticity are
weighty, almost indisputable.[6][B] We therefore accept it here and will
endeavor to define the work of one of the greatest painters of China in
the fourth and the beginning of the fifth century.

[5] This painting formed part of the collection of the ex-viceroy Tuan
Fang, killed in 1911, during the revolution. It was published in 1911
by the Japanese archeologist, Mr. Taki.

[6] These reasons are set forth in a work which Mr. Laurence Binyon is
preparing, to accompany a reproduction engraved by Japanese artists
for the British Museum.

[B] The preceding footnote refers to a work published in 1913 by the
Trustees of the British Museum, containing a reproduction of the
painting in its entirety and giving a full description.--TRANSLATOR.

The painted scenes are inspired by a work of the third century containing
admonitions addressed to the ladies of the imperial palace. The striking
characteristics of these compositions are the lightness and delicacy of
style, the poetry of the attitudes and the supreme elegance of the forms.
Heavy black tresses frame the ivory faces with refined and subtle charm.
The voluptuous caprice of garments in long floating folds, the extreme
perfection of the figures and the grace of gest