In the third year of Hsien Fêng the T’ai p’ing rebels captured Ching-tê Chên and burnt down the Imperial factory, which was not rebuilt till 1864. The potters themselves were killed or scattered; and, naturally, marked examples of this reign are scarce. Such, however, as do exist are of little account, and may be regarded as continuations of the Tao Kuang manufacture. Bushell[478] mentions vases of good form painted in soft colours with nine five-clawed dragons on a white background, which is etched in the paste with scrolled waves, and a dinner service of bowls, cups and saucer dishes painted in colours with processional figures of the eighteen Lohan. And in the British Museum there is a large globular bowl on a high foot painted with green dragon designs and a bowl with medallions of lanterns and vases separated by lotus ornament, neither of which are in any way different from the Tao Kuang wares. No doubt a good deal of porcelain was made at the private factories even during this troubled period, but the specimens which I have seen are not worthy of description. _T’ung Chih_ [chch 2] (1862–1873) When the T’ai p’ing rebels had been expelled from the province of Kiangsi by the celebrated viceroy, Li Hung-chang, in 1864, the Imperial factory was rebuilt on the old lines by the new director, Ts’ai Chin-ch’ing. In the same year a list of the porcelain forwarded to the Emperor was drawn up, and it is published in the _Chiang hsi t’ung chih_[479] immediately after Hsieh Min’s list. It consists mainly of bowls, wine and tea cups, saucer dishes and plates classified as _yüan ch’i_ (round ware), and a few vases under the general heading, _cho ch’i_; and though there is little originality in the designs, lists of this kind are so rare and so instructive that I have no hesitation in giving it in full below, following Bushell’s[480] renderings in most cases. Actual examples of T’ung Chih porcelain are not inspiring. Those in the British Museum include a covered bowl with coloured sprays in a ground of red diaper; a bowl with enamelled sprays on a pale brown (_tzŭ chin_) glaze; a saucer with dragons etched under a transparent green glaze, the exterior in unglazed biscuit painted in black; a cup with red dragons in a ground of black enamel and the cyclical date 1868; a low, octagonal bowl with the Eight Trigrams in relief outside, the interior of this and of the preceding specimen as well being coated with blue green enamel; and a basin enamelled with the Eight Ambassadors of the Tribes of Man. The most favourable specimen of the ware in the same collection is a carefully painted wedding bowl with canary yellow ground and medallions of appropriate symbols, the peach-and dragon-headed staff of longevity, the double fish symbol of conjugal felicity, and the group of pencil brush, cake of ink and _ju-i_ sceptre forming the rebus _pi ting ju i_, “may things be as you wish.”