Fig. 2.--Vase and Stand, smooth lavender grey glaze. Sung or Yüan dynasty. Height 7¾ inches. _Alexander Collection._] Decoration of any kind is unusual on these wares except on the large tripod incense burners, which often have slight applied reliefs in the form of animals, dragons, or peony sprays. Mr. Freer's dish (Plate 41, Fig. 1) with the raised floral spray is quite exceptional. Whatever the verdict may be on the technical qualities of these rugged pieces as compared with more finely finished porcelain, there can be no doubt of the artistic merit of the subtle glaze colours, and I have seen people whose undoubted taste in other forms of art had not previously been directed to things ceramic, display a sudden and unexpected enthusiasm over the rough Yüan bowls. The peculiar shape of these bowls--which, without their foot take the form of a half coco-nut--has raised the question whether it can be in any way connected with the Polynesian khava bowls. The latter are actually made of coco-nut, and, curiously enough, their interior after much use acquires a vivid patina, whose colour recalls some of the Yüan tz´ŭ glazes. The resemblance, however, remarkable as it is, can only be accidental, for it is practically certain that the tints of these ceramic glazes were quite unforeseen. Long use has usually given the surface of the Yüan tz´ŭ a smooth, worn feeling, but in its first freshness the glaze had a very high and brilliant lustre. This is shown by a few pieces which have lately been sent from China, where they were excavated evidently on the site of the old factory, and still remain in their seggars or fireclay cases to which they became attached by some accident in the kiln. These and other spoilt pieces or wasters would be of immense interest if only the circumstance of their finding had been faithfully recorded. Unfortunately, however, they passed through many hands before reaching Europe, and we have only hearsay to support the statement that they were found in the neighbourhood of Honan Fu. The locality is a likely enough spot and not remote from Chün Chou, but we must consider that the real origin of the Yüan tz´ŭ has yet to be settled, and we must still remain in doubt whether the ware is a coarse variety of Sung Chün Chou ware, a continuation of that manufacture in the Yüan dynasty, or the production of a different factory. Judging from the character of the glazes, I am inclined to accept the first two alternatives, which are not mutually exclusive, for while many of the specimens have the appearance of Sung wares, there is every reason to suppose that the manufacture continued through the Yüan period. The formula, "Sung or Yüan ware of Chün type," adopted in the catalogue of the exhibition at the Burlington Fine Arts Club in 1910, is a discreet compromise which may well be retained till further evidence from China is forthcoming.