[Footnote 252: Bk. ii., fol. 7 verso. In discussing the glazes with mixed colour, the author says: "Of these wares, the sword-grass bowls and their saucers alone are refined. The other kinds, like the garden seats, boxes, square vases, and flower jars, are all of yellow sandy earthenware. Consequently, they are coarse and thick, and not refined." The first sentence is difficult, and has given rise to much discussion. The word _ti_, which Bushell has (rightly, I think) rendered saucers, literally means "bottom" or "base." Hirth reads it, "Those which have bottoms like the flower pots in which sword-grass is grown are considered the most excellent"; and Julien appears to have quite misunderstood the application of the passage. The original is [Chinese]. The shallow saucers in which the deep flower pots stood are often included among the bulb bowls. See Plates 37 and 40.] [Footnote 253: See the excellent account of the Chün wares by Mrs. Williams in the introduction to the _Catalogue of a Loan Exhibition of Chinese, Corean, and Japanese Potteries held by the Japan Society of New York, 1914_.] [Footnote 254: Shrivelled glaze is sometimes seen on the Chün types of pottery. Probably this was at first, at any rate, an accidental effect; but it is the prototype of the "dragon skin" glazes which the Japanese made at a later date. There is a good example in the Eumorfopoulos Collection of a bowl with thick grey Chün glaze, with a patch of reddish colour, and which is shrivelled in the most approved fashion, the glaze contracting into isolated drops and exposing the body between them.] [Footnote 255: See _T´ao shuo_, bk. ii., fol. 15 verso, quoting the _Liu ch´ing jih cha_. In the case of the former (_t´u ssŭ wên_) some confusion has been caused by a variant reading [Chinese] of the word [Chinese] (_t´u_ = hare), which refers the simile to the "dodder"; but the commoner phrase, "hare's fur marking," is far more descriptive of a dappled surface. Brinkley's explanation of the second phrase, _huo yen ch´ing_, as referring to the blue centre of a tongue of flame, applying the simile to the passages of blue which sometimes occur in the variegated Chün glazes, seems to meet the case. The flame-like effects are mentioned in an interesting passage in the _T´ang chien kung t´ao yeh t´u shuo_ (quoted in the _T´ao lu_, bk. viii., fol. 13): "Men prize the Chün cups, tripods, and incense burners with smoke and flame glaze (_yen huan sê_). Although only pottery, still they combine the unexpected colours produced by the blowing tube (_t´o yo_)." The _t´o yo_ [Chinese] seems to have been "a pipe for blowing up the furnace."] [Footnote 256: See Hamilton Bell, "'Imperial' Sung Pottery," _Art in America_, July, 1913, p. 182. The Chinese numerals are given on p. 211.] [Footnote 257: _Cat. B.F.A._, 1910, B 42.] [Footnote 258: There is an obvious analogy in the "_size 3_" and "_S 2_," etc., incised under the Derby porcelain figures.] [Footnote 259: See p. 50.]