[222] Cobalt, the source of the ceramic blues, is obtained from cobaltiferous ore of manganese, and its quality varies according to the purity of the ore and the care with which it is refined. [223] _0. C. A._, p. 263. This very dark blue recalls one of the Chia Ching types noted on page 36. [224] See p. 10. [225] But see p. 177. [226] _Biscuit_ is the usual term for a fired porcelain which has not been glazed. [227] See p. 17. [228] It has been suggested by Mr. Joseph Burton that the opacity of the colours described in the preceding paragraphs may have been due to the addition of porcelain earth to the glazing material. [229] See p. 82. [230] See, however, p. 85. [231] See p. 2. [232] The _T’ao lu_ (bk. ix., fol. 17 verso) quotes an infallible method for fixing the gold on bowls so that it would never come off; it seems to have consisted of mixing garlic juice with the gold before painting and firing it in the ordinary way. [233] Loc. cit., and Bushell, _O. C. A._, p. 268. [234] See p. 75. [235] See _T’ao shuo_, bk. iii., fol. 10 verso. [236] See p. 55. [237] e.g. The _Chieh tzŭ yüan ma chuan_ of the K’ang Hsi period, mentioned by Perzynski, _Burlington Magazine_, March, 1913, p. 310. [238] Bushell’s translation, op. cit., p. 71. [239] _Ku chin t’u shu chi ch’êng_, section xxxii., bk. 248, section entitled _tz’ŭ ch’i pu hui k’ao_, fol. 13 verso. [240] [chch 2] [241] The supplies of porcelain earth in the immediate district of Jao Chou Fu were exhausted by this time. [242] The others were the Ch’ing-yün factory at Ssŭ-tu, and the Lan-ch’i factory in the Chien-ning district. The latter district was mentioned in vol. i., p. 130, in connection with the hare’s fur bowls of the Sung period. [243] See vol. i., p. 17. [244] Tê-hua was formerly included in the Ch’üan-chou Fu, but is now in the Yung-ch’un Chou. [245] See vol. i., p. 131. [246] Bk. vii., fol. 13 verso. [247] Loc. cit. [248] According to de Groot, _Annales du Musée Guinet_, vol. xi., p. 195. [249] Brinkley, _China and Japan_, vol. ix., p. 274. [250] See W. Anderson, _Catalogue of the Japanese and Chinese Paintings in the British Museum_, p. 75. [251] _O. C. A._, p. 628. [252] In the letter dated from Jao Chou, September, 1712, loc. cit. [253] Incised designs on Fukien wares consist of the ordinary decoration etched in the body of the ware and of inscriptions which have evidently been cut through the glaze before it was fired. The latter often occur on wine cups, and are usually poetical sentiments or aphorisms, e.g. “In business be pure as the wind”; “Amidst the green wine cups we rejoice.” [254] _Japan and China_, vol. ix., p. 273. [255] _Everyday Life in China, or Scenes in Fukien_, by E. J. Dukes, London, 1885, p. 140. The reference is given by Bushell in his _Oriental Ceramic Art_. [256] Loc. cit., p. 273.