undless
curiosity and the various ability of the men of the Italian Renaissance.
But for some years before his death he had concentrated his powers chiefly
on the study of Oriental art, of the Chinese language, and of Buddhist
iconography. His most important work in this line is _La Philosophie de la
Nature dans l'Art d'Extreme Orient_, a sumptuously printed folio published
by Laurens in Paris, with illustrations by the _Kokka_ Company, and
written with as much charm as insight. Petrucci's knowledge of Chinese
gave him an authority in interpreting Chinese art which writers on the
subject have rarely combined with so much understanding of art in
general, though as a connoisseur he was sometimes over-sanguine. His
translation from a classic of Chinese art-criticism, originally published
in a learned magazine, has lately appeared in book form. With his friend,
Professor Chavannes, whose death, also in the prime of life, we have had
to deplore still more recently, Petrucci edited the first volume of the
splendid series _Ars Asiatica_. The present work, intended for the general
reader and lover of art, illustrates his gift for luminous condensation
and the happy treatment of a large theme.

A man of winning manners, a most generous and loyal friend, Petrucci wore
his manifold learning lightly; with immense energy and force of character,
he was simple and warm-hearted and interested in the small things as well
as the great things of life.

LAURENCE BINYON

BRITISH MUSEUM
October, 1919

* * * * *

CONTENTS
PAGE

PREFACE BY THE TRANSLATOR 5

BIOGRAPHICAL NOTE BY LAURENCE BINYON 7

INTRODUCTION 15

PART ONE. TECHNIQUE

I. EQUIPMENT OF THE PAINTER 21

II. REPRESENTATION OF FORMS 26

III. DIVISION OF SUBJECTS 33

IV. INSPIRATION 38

PART TWO. THE EVOLUTION OF CHINESE PAINTING

I. ORIGINS 45

II. BEFORE THE INTERVENTION OF BUDDHISM 46

III. THE INTERVENTION OF BUDDHISM 54

IV. THE T'ANG PERIOD--7TH T