The following remarks may lend a zest to dusting days, and, mayhap, the poor relation may be invited to come down from the top shelf in the kitchen to occupy a niche in the drawing-room. It is to be hoped that what has already been said on china may have created a taste in the reader for the inventions of the potter. A blue bowl may convey a world of meaning, and may be fragrant with memories of the eighteenth century, if one cares to peer beneath the surface. To the uninitiated it will be a blue bowl—and ugly maybe at that. To some the potter’s art is as dead a thing as was Nature’s message to Wordsworth’s insensate:— “A primrose by a river’s brim A yellow primrose was to him, And it was nothing more.” That it is not always easy to determine where a piece of china may have come from we have already shown, even if it be “A Present from the Crystal Palace.” The ordinary mind may possibly imagine some hitherto unknown factory away at Sydenham, but the legend “Made in Germany” underneath instantly dispels that illusion. It is necessary here to state that the world of _bric-à-brac_ is divided into two parts—earthenware or pottery, and china or porcelain. All that is not earthenware is porcelain, and all that is not porcelain is earthenware. One may liken it to prose and poetry; what is not one must be the other, as Monsieur Jourdain discovered after he had spoken prose for forty years without knowing it. To continue the simile, some of Ruskin’s prose writings approach as near to poetry as do Wedgwood’s finer wares to porcelain. Porcelain is produced by the artificial mixture of certain minerals known by their Chinese names of _kaolin_ and _petuntse_, or their English ones of china-clay and felspar. The former is infusible under the greatest heat, the latter is not, but unites in a state of fusion with the china-clay, making a paste or “body,” which is hard, and, when broken, shows a smooth, vitreous fracture. Those who have attempted to mend old china must have noticed how different the broken surface is from that of pottery with its rougher edges. Strictly speaking these “Chats” on earthenware ought to have appeared at the commencement of the volume, for earthenware comes first chronologically. In passing we will glance for a moment as to how porcelain came into Europe. Porcelain was first invented by the Chinese some two centuries before Christ. It reached Europe as the Eastern civilisation penetrated to the west, and for hundreds of years vain attempts were made by potters to reproduce the fineness of porcelain with its beautiful glaze and hard paste. At Venice, at Florence, in France, and in Spain, during the sixteenth and seventeenth centuries, an approximate success had been arrived at; soft paste had been developed to its furthest limit, but the real ingredients of the Chinese hard paste were unknown.