Fig. 1.--Plate of spotted celadon. (?) Sung dynasty. Diameter 6½ inches. _Eumorfopoulos Collection._ Fig. 2.--Octagonal Vase with crackled glaze and biscuit panels moulded with figures of the Eight Immortals in clouds. (?) Fourteenth century. Height 9¼ inches. _Eumorfopoulos Collection._ Fig. 3.--Dish with engraved lotus scrolls and two fishes in biscuit. Sung dynasty. Diameter 11 inches. _Gotha Museum._] Connoisseurs are much exercised over the differences between Sung and Ming celadons. The _T´ao lu_ tells us nothing beyond the bare statement that the Ming ware was not so good, and the two general rules which have been laid down[166] for our guidance--viz. (1) that the colour of the Sung wares is deeper and more grass green, that of the Ming more grey green, and (2) that the bottoms of the Ming vessels are distinguished by an unglazed ring of reddish brown colour--can only be accepted with reserve. Of the two the colour test is probably the more reliable, but I have found too many exceptions in which the grey green occurs on pieces of obviously Sung origin to feel any great confidence in its guidance. The ring test breaks down in practice, and is illogical in its conception, implying, as it does, that the use of a circular support in the kiln was limited to one particular place and period. On the contrary, we know that this method of support was usual in the Siamese factories at Sawankalok,[167] and apparently before the Ming period, and as the Siamese potteries were started by Chinese, probably sent from Western China, it is only fair to suppose that this method of manufacture was in general use at an early date. The safest criterion of Sung workmanship is the style of the ware, and especially the boldness and freedom of the carved designs. In the Ming period the Sung patterns already exhibit an inevitable staleness and conventionality with a tendency to overcrowding of detail. In some cases, too, the designs are of a later order, and closely analogous to those of the blue and white Ming porcelains.