It is wellnigh impossible to reproduce adequately these white porcelains, but Plate 59 illustrates the well-known example in the Franks Collection, which has long been accepted as a genuine Yung Lo specimen. It represents the _ya shou pei_ in form, with wide mouth and small foot--the contracted waist of the _Po wu yao lan_; the foot rim is bare at the edge, but not otherwise sandy, and the base is glazed over, which may be the sense in which the word “polished”[12] is used in the _Po wu yao lan_. The ware is so thin and transparent that it seems to consist of glaze alone, as though the body had been pared away to vanishing point before the glaze was applied--in short, it is _t’o t’ai_ or “bodiless.” When held to the light it has a greenish transparency and the colour of melting snow, and there is revealed on the sides a delicate but exquisitely drawn design of five-clawed Imperial dragons in white slip (not etched, as has too often been stated), showing up like the water-mark in paper. On the bottom inside is the date-mark of the period etched with a point in four archaic characters (see vol. i, p. 213). A more refined and delicate ceramic work could hardly be imagined. Close to this bowl in the Franks Collection there are two smaller bowls or, rather, cups which in many ways answer more nearly the description of the _ya shou pei_,[13] though they are thick in substance and of coarser make. They have straight spreading sides, wide at the mouth, with foliate rim, and contracted at the foot. The foot rim is bare of glaze, but the base is covered. They are of an impure white ware with surface rather pitted, and inside is a lotus design traced in white slip under the glaze and repeated in radiating compartments. These are perhaps a product of the private factories. The same form is observed among the blue and white porcelain in two small cups, which are painted in blue with a landscape on the exterior and with bands of curled scrolls inside and the Yung Lo mark in four characters. The base is unglazed, and though they are undoubtedly intended to represent a Yung Lo type, these not uncommon bowls can hardly be older than the last dynasty. Another blue and white bowl in the Franks Collection has the Yung Lo mark and the scroll decoration inside, and on the exterior a long poem by Su Shih, covering most of the surface. It is painted in a grey blue, and the ware, though coarse, has the appearance of Ming manufacture, perhaps one of the late Ming copies which are mentioned without honour in the _Po wu yao lan_. It is, however, of the ordinary rounded form.[14]