Three methods of glazing are described: the old method of painting the glaze on with goat’s-hair brush; dipping the ware into a large jar of glaze; and blowing on the glaze with a bamboo tube covered at the end with gauze. XIV.--TURNING THE UNBAKED WARE AND HOLLOWING OUT THE FOOT. This turning or polishing was done on a wheel. For convenience of handling the foot of the vessel was left with a lump of clay adhering until all the processes, except firing, were complete; the foot was then trimmed and hollowed out, and the mark painted underneath. XV.--PUTTING THE FINISHED WARE INTO THE KILN. XVI.--OPENING THE KILN WHEN THE WARE IS BAKED. XVII.--DECORATING THE ROUND WARE AND VASES IN FOREIGN COLOURING. See p. 242. XVIII.--THE OPEN STOVE AND THE CLOSED STOVE. Two types of small kiln used to fire the on-glaze enamels. XIX.--WRAPPING IN STRAW AND PACKING IN CASKS. XX.--WORSHIPPING THE GOD AND OFFERING SACRIFICE. There are a few illustrations appended to the _T’ao lu_ which cover much the same field, but they are roughly drawn. A much better set of coloured pictures is exhibited in frames in the Franks Collection in the British Museum, showing most of the processes described by T’ang. CHAPTER XIV EUROPEAN INFLUENCES IN THE CH’ING DYNASTY Hitherto the references to European influence on Chinese porcelain have been of an incidental nature. But the use of Western designs on the porcelains of the Ch’ing dynasty, and especially in the eighteenth century, attained such large proportions that it is necessary to treat the wares so decorated as a class apart. A highly instructive collection of this type of porcelain is exhibited in the British Museum, where it has been subdivided in groups illustrating porcelain painted in China with European armorial designs, porcelain painted in China after pictures, engravings and other patterns of European origin, European forms in Chinese porcelain, and, lastly, Chinese porcelain decorated in Europe.