[Footnote 132: Speaking of the imitations of Kuan yao early in the nineteenth century, the _T´ao lu_ (bk. ii., fol. 10) remarks: "Originally there were special departments for imitating Kuan yao. Now, only the imitators of the crackled wares make it. As for the imitations made at the (Imperial) factory, they are more beautiful," sc. than those made in the private factories.] [Footnote 133: Bk. xxix., fol. 11.] [Footnote 134: The word _Hsü_ [Chinese] has the meaning "continuation," and if it be not a place-name at present unidentified, it might conceivably be "the continuation or later Kuan ware."] [Footnote 135: Bk. vii., fol. 6 verso.] [Footnote 136: The _Ch´i hsiu lei k´ao_, quoted by Hirth, _Ancient Chinese Porcelain_, p. 37.] [Footnote 137: The authors of the _Po wu yao lan_ and the _Ch´ing pi ts´ang_.] [Footnote 138: [Chinese] _hsieh chao wên_, a debatable phrase, which seems best explained as a large irregular crackle resembling the tangle of claws seen on the top of a basket of crabs.] [Footnote 139: [Chinese] _Yü tzŭ_. A crackle of finer mesh, which French writers describe as _truité_, or resembling the scales of a trout.] [Footnote 140: [Chinese] _pai chi sui_, used by the author of the _P´ai shih lei p´ien_; see other references in the _T´ao shuo_ and the _T´ao lu_.] [Footnote 141: See p. 82.] [Footnote 142: Quoted in the _T´ao shuo_ (bk. v., fol. 9 verso).] [Footnote 143: See vol. ii., p. 223.] [Footnote 144: [Chinese] [Chinese] _mi sê fên ch´ing_. _Mi sê_ is rendered in Giles's Dictionary, "Straw colour, the colour of yellow millet," and all Chinese authorities whom I have questioned agree that it is a yellow colour. Bushell in much of his published work rendered it "rice coloured," following Julien's _couleur du riz_, and others, including myself, have been misled by this rendering. Bushell, however, in a note in Monkhouse's _Chinese Porcelain_, p. 67, which is quoted at length in vol. ii., p. 220, pronounces in favour of the rendering yellow. The difficulty of finding a true yellow among the Sung wares to support the comparison with yellow millet has further complicated the question. The vase in the Victoria and Albert Museum, which is figured in Monkhouse (fig. 22) as a specimen of old _mi sê_, is probably a Yung Chêng reproduction of the Sung type. It has a stone-coloured crackle glaze, overlaid with a brownish yellow enamel, a technique which is foreign to the Sung wares. Possibly one type of Sung _mi sê_ was illustrated by the "shallow bowl with spout, of grey stoneware with opaque glaze of pale sulphur yellow," which Mr. Alexander exhibited at the Burlington Fine Arts Club in 1910 (Cat. K. 18). Another kind is described by Bushell in the catalogue of the Morgan collection (p. 38) as follows: "Shallow bowl (_wan_). Greenish yellow crackled glaze of the Sung dynasty, leaving a bare ring at the bottom within. A specimen of ancient _mi sê_ or millet-coloured crackle from the Kiang-hsi potteries.