But the group which probably commands the greatest interest is that known as “Jesuit china,” decorated with subjects bearing on the Christian religion. The earliest examples are painted in underglaze blue, the Christian designs being accompanied by ordinary Chinese ornaments. An early (to judge from the general style of the piece, late Ming) example is a pear-shaped ewer, with elongated spout and handle, in the Kunstgewerbe Museum, Berlin. On the side is the sacred monogram IHS, surrounded by formal ornament, and it has been plausibly suggested that the little vessel had been used for Communion purposes. A bowl with fungus mark in the Franks Collection has a Crucifixion on the exterior, framed in a pattern of cloud-scrolls, and inside with truly Chinese tolerance is painted a Buddhist pearl symbol in flames and clouds. A cup in the same series with the “jade” mark[462] has a Crucifixion half lost among the surrounding arabesque scrolls. These two are of the K’ang Hsi period, and were probably made with the pieces to which Père d’Entrecolles[463] alludes, in his letter dated 1712, as follows: “From the debris at a large emporium they brought me a little plate which I treasure more than the finest porcelain made during the last thousand years. In the centre of the plate is painted a crucifix between the Virgin and St. John, and I am told that this kind of porcelain was shipped sometimes to Japan, but that this commerce came to an end sixteen or seventeen years ago. Apparently the Japanese Christians took advantage of this manufacture at the time of the persecution to obtain pictures of our mysteries, and these wares, mingled with others in the crates, eluded the vigilance of the enemies of our religion. This pious artifice was no doubt eventually discovered and rendered useless by more stringent investigation, and that is why the manufacture of this kind of ware has ceased at Ching-tê Chên.” These early types, which are rare to-day, have a special interest because they were decorated at Ching-tê Chên, and their general style indicates that they were made for Oriental use. After an interval of some years the Jesuit china reappeared in a more sophisticated form, probably the work of Canton decorators. The designs, various Biblical scenes, are copied in black and gold from European engravings, and they occur on plates with rims, tea and coffee services, and other articles of European use. The earliest may date from the Yung Chêng period, but they are mostly Ch’ien Lung, and the same designs are occasionally executed in enamel colours. In addition to the Christian china there are plates and dishes decorated with rings of Koranic inscriptions in Arabic, surrounding magic squares, and destined for the Mussulman markets.