[Footnote 119: On the subject of crackle, see vol. ii., p. 197. The idea of a crackle assuming the form of round four- or five-petalled flowers like plum blossoms was carried out by the Ch´ien Lung potters on some of the medallion bowls (see vol. ii., p. 244), with a ground of bluish green enamel on which a network of lines and plum blossoms was traced in black.] [Footnote 120: [Chinese] _Ch´êng ni_, lit. "pure, limpid, or clear clay," an expression which is explained in the _T´ao shuo_ (bk. i., fol. 4 verso) as "refined earth," the word _ch´êng_ (or _ling_) being equivalent to [Chinese] _t´ao_, which means to wash.] [Footnote 121: [Chinese] _jung ch´ê_, lit. "brilliant penetrate, or brilliant right through."] [Footnote 122: The age is here probably the Sung period, for we must bear in mind that the author of the _Cho kêng_ lu is practically quoting verbatim from the Sung writer Yeh-chih.] [Footnote 123: _Ko ku yao lun_, bk. vii., fol. 22.] [Footnote 124: It may also explain the ruddy tinge of the green glaze, which, being transparent, would allow the reddish brown body colour to show through in the thinner parts.] [Footnote 125: An early sixteenth-century work, the _Tu kung t´an tsuan_ (quoted in the _T´ao lu_, bk. ix., fol. 8 verso) tells of a Chinese sybarite Li Fêng-ming, who held a "lotus flower banquet. There were crystal tables twelve in number, and on them a series of vessels, all of Kuan porcelain, a display of elegance rarely seen at any time."] [Footnote 126: _Ya ku ch´ing pao shih._ _Ya ku_ is explained by Bretschneider (_Mediæeval Researches_, vol. i., p. 174) as equivalent to the Arabic _yakut_, and meaning a corundum, of which the Chinese recognise various tints, including deep blue, pale blue, muddy blue, besides yellow and white.] [Footnote 127: _Ch´ing ts´ui jo yü lan t´ien._] [Footnote 128: _Sê ch´ing tai fên hung._ A more literal rendering of this phrase is "the colour of the glaze is _ch´ing_, with a tinge of red," which would refer to the reddish tone of a pale lavender glaze. On the other hand, the word _tai_ is apparently used to describe the contrasting colours in parti-coloured jade and agate, e.g. _huang sê tai t´u pan_ in Laufer (_Jade_, p. 140) to describe "yellow jade with earthy spots," and again (op. cit., p. 142), _ch´ing yü tai hei sê_, "green jade with passages of black colour."] [Footnote 129: _Po wu yao lan_ (quoted in the _T´ao shuo_, vol. iii., fol. 13 verso). These accidental effects are mentioned on both the Kuan and Ko wares, and are said to be either of a yellowish or a brownish red tint.] [Footnote 130: "Wares of the Sung and Yüan Dynasties," _Burlington Magazine_, May, 1909, Plate i., fig. 4.] [Footnote 131: See _Burlington Magazine_, May, 1909, Plate i., fig. 28; Plate ii., fig. 6.]