[94] This peculiarity occurs on a tripod incense vase in the Eumorfopoulos Collection, which in other respects resembles this little group, but it is a peculiarity not confined to the Chêng Tê porcelain, for I have occasionally found it on much later wares. [95] A somewhat similar effect is seen on the little flask ascribed to the Hsüan Tê period. See p. 14. [96] Op. cit., Nos. 52 and 80. These are the latest specimens which are given by Hsiang Yüan-p‘ien. [97] _Cat._, H 8. [98] A similar vase is in the Victoria and Albert Museum. [99] [chch 3] _hsien hung t’u_, lit. “the earth for the fresh red,” an expression which would naturally refer to the _clay_ used in making ware of this particular colour, though Bushell has preferred to take it in reference to the _mineral_ used to produce the colour itself. See p. 123. [100] Bk. ii., fol. 10. [101] A Ming writer quoted in the _T’ao lu_, bk. viii., fol. 4, adds that these cups were marked under the base [chch 2] _chin lu_ (golden seal), [chch 2] _ta chiao_ (great sacrifice), [chch 2] _t’an yung_ (altar use). [102] _Ch’ing k’ou_, lit. mouth like a gong or sounding stone. [103] _Man hsin_, lit. loaf-shaped centre. [104] _Yüan tsu_, lit. foot with outer border. [105] An extract from the _I Chih_ (quoted in the _T’ao lu_, bk. viii., fol. 14) states that “in the 26th year of Chia Ching, the emperor demanded that vessels should be made with 'fresh red’ (_hsien hung_) decoration; they were difficult to make successfully, and Hsü Chên of the Imperial Censorate, memorialised the throne, requesting that red from sulphate of iron (_fan hung_) be used instead.” A memorial of similar tenor was sent to the emperor by Hsü Ch’ih in the succeeding reign. [106] _O. C. A._, pp. 223–6. [107] Bk. vi., fols. 9–15. See also Bushell’s translation op. cit., pp. 145–51, and _O. C. A._, loc. cit. [108] Some idea of the quantity supplied may be gathered from the following items in the list for the year 1546: 300 fish bowls, 1,000 covered jars, 22,000 bowls, 31,000 round dishes (_p’an_), 18,400 wine cups. [109] See Bushell, _O. C. A._, p. 226. [110] There are examples of this work in the British Museum, in which the blue seems to have been sponged on or washed on, and the decoration picked out with a needlepoint, and then the whole covered with a colourless glaze. [111] _hsiang yün_, lit. felicitous clouds. [112] [chch 2] _t’ieh chin_, lit. stuck-on gold. [113] _O. C. A._, p. 221. [114] [chch 2] _t’ien pai_, a phrase frequently used in this sense, though it is not quite obvious how it derives this meaning from its literal sense of “sweet white.” [115] See p. 34. The _fan hung_ is an overglaze colour of coral tint, derived from oxide of iron; the _hsien hung_ is an underglaze red derived from oxide of copper. [116] _jang hua_, lit. “abundant or luxuriant ornament.” _Embossed_ is Bushell’s rendering. [117] See Bushell’s translation, op. cit., p. 151. [118] [chch 3]. [119] See p. 298.