There were Masters in those days, but, alas - it is not so now.
Of course the main preciousness of this piece lies in its color;
it is that old sensuous, pervading, ramifying, interpolating,
transboreal blue which is the despair of modern art.
The little sketch which I have made of this gem cannot
and does not do it justice, since I have been obliged
to leave out the color. But I've got the expression, though.
However, I must not be frittering away the reader's time
with these details. I did not intend to go into any
detail at all, at first, but it is the failing of the
true ceramiker, or the true devotee in any department
of brick-a-brackery, that once he gets his tongue or his
pen started on his darling theme, he cannot well stop
until he drops from exhaustion. He has no more sense
of the flight of time than has any other lover when talking
of his sweetheart. The very "marks" on the bottom
of a piece of rare crockery are able to throw me into
a gibbering ecstasy; and I could forsake a drowning
relative to help dispute about whether the stopple
of a departed Buon Retiro scent-bottle was genuine or spurious.
Many people say that for a male person, bric-a-brac hunting
is about as robust a business as making doll-clothes,
or decorating Japanese pots with decalcomanie butterflies
would be, and these people fling mud at the elegant Englishman,
Byng, who wrote a book called THE BRIC-A-BRAC HUNTER,
and make fun of him for chasing around after what they choose
to call "his despicable trifles"; and for "gushing" over
these trifles; and for exhibiting his "deep infantile delight"
in what they call his "tuppenny collection of beggarly
trivialities"; and for beginning his book with a picture
of himself seated, in a "sappy, self-complacent attitude,
in the midst of his poor little ridiculous bric-a-brac junk
shop."
It is easy to say these things; it is easy to revile us,
easy to despise us; therefore, let these people rail on;
they cannot feel as Byng and I feel - it is their loss,
not ours.
