It should be remembered, too, that at the time of which d'Entrecolles speaks, an extensive use was being made at Ching-tê Chên of a beautiful celadon glaze on a fine white porcelain body. These celadons of the period will be discussed in their proper place, as they make no pretence of antiquity and are easily distinguished by their pure white body and pale soft green glaze. Indeed, they often have the ordinary white glaze under the base and a period mark in blue. Another factory which made free use of the celadon glaze was that of Yang Chiang, province of Kuangtung. As a rule, the ware is recognisable by its reddish brown stoneware body, but in cases where the biscuit is lighter in colour and more porcellanous in texture, confusion may easily arise. Nor must we forget the extensive manufacture of celadons outside China itself. The Corean wares have already been mentioned. As a rule, their soft velvety glaze is recognised by its peculiar bluish grey tone, difficult to describe but easy to remember when once seen. The colour, however, varies to distinctly greener and browner shades, which are liable to be confused with Chinese celadons of the Lung-ch´üan and northern types. Fortunately, most, though not all, of the Corean decorations are very characteristic, particularly the delicate inlaid designs[176] in white and black clays; and the finish of the ware underneath is usually distinctive, a very low foot rim, the base slightly convex, and the disfiguring presence of the sand, which in three little piles supported the ware in the kiln. There are, however, quite a number of ambiguous celadons with a brownish green glaze, usually bowls, of which some are decorated inside with beautiful carved and moulded designs of bold foliage (Plate 18, Fig. 1) and even with the design of boys among flowering branches and the slight combed patterns which are found on the Corean white wares. Were it not for the apparently Chinese provenance of so many of these bowls, and the absence of the Corean characteristics in their bases, one would be tempted to class them as Corean on the strength of their general appearance. Probably we have in this group both the Chinese prototypes and the close imitations made by the Corean potters who followed these models just as they followed the white ware of Ting Chou. One of the combed bowls formerly treasured as a tea bowl in Japan is now in the Kunstgewerbe Museum, Berlin, but unfortunately the Japanese name _shuko-yaki_, by which Dr. Kümmel informs me it was known in Japan, sheds no light on the question of its origin.