[40] On the parallelism between this type of porcelain decoration and cloisonné enamel, see _Burlington Magazine_, September, 1912, p. 320. It is worthy of note that missing parts of these vases, such as neck rim or handles, are often replaced by cloisonné enamel on metal, which is so like the surrounding porcelain that the repairs are often overlooked. [41] The yellow of this group is usually of a dull, impure tint, but there is a small jar in the Peters Collection in New York on which the yellow is exceptionally pure and brilliant, and almost of lemon colour. [42] In these cases the porcelain would be first fired without glaze and the colours added when it was in what is called the “biscuit” state. In the blue and white ware, on the other hand, and the bulk of Chinese glazed porcelain, body and glaze were baked together in one firing. [43] Bushell, _O. C. A._, p. 152. [44] Translation of the _T’ao shuo_, op. cit., p. 51. [45] This is the verdict of the _Po wu yao lan_, and it is repeated in the _T’ao lu_, see Bushell, op. cit., p. 60. [46] Painted decoration is mentioned in Chiang’s Memoir of the Yüan dynasty (see vol. i, p. 160), but without any particulars; and the _Ko ku yao lun_ speaks of _wu sê_ decoration of a coarse kind at the end of the Yüan period (see vol. i, p. 161). The latter may, of course, refer to the use of coloured glazes. [47] Op. cit., fig. 77. [48] The application of these enamels in large washes puts them practically in the category of glazes, but for the sake of clearness it is best to keep the terminology distinct. After all, the difference between a high-fired glaze which is applied to the biscuit and a low-fired enamel applied in the same way is only one of degree, but if we use the term enamel or enamel-glaze for the colours fired in the muffle kiln as distinct from those fired in the porcelain kiln, it will save further explanations. [49] A late Ming writer quoted in the _T’ao lu_ (bk. viii., fol. 18) says, “At the present day Hsüan ware cricket pots are still very greatly treasured. Their price is not less than that of Hsüan Ho pots of the Sung dynasty.” [50] Bushell, op. cit., p. 140. [51] _Po wu yao lan_, bk. ii., fol. 9 verso. [52] [chch] _hsien_. The emperor Ch’êng Hua was canonised as Hsien Tsung. [53] See p. 12. [54] [chch 2] _ch’ien tan_. The _T’ao shuo_, quoting this passage, uses a variant reading, _ch’ien shên_ [chch], which Bushell renders “whether light or dark.” [55] _yu hua i_, lit. “have the picture idea.” [56] See Bushell, _O. C. A._, p. 385. [57] See Hsiang’s Album, op. cit., fig. 38. [58] Bk. vi., fols. 7–9, and Bushell’s translation, op. cit., pp. 141–3. [59] Op. cit., fig. 55. [60] _Burlington Magazine_, December, 1912, pp. 153–8. [61] The author of the _P’u shu t’ing chi_ (_Memoirs of the Pavilion for Sunning Books_), quoted in the _T’ao shuo_, loc. cit. [62] Op. cit., fig. 64.