[272] [chch] lit. watered. This word has been rendered by some translators as “pale”; but probably it has merely the sense of “mixed with the (glaze) water,” i.e. a monochrome glaze. The recipe given in the _T’ao lu_ (see Julien) is incomplete, only mentioning “crystals of saltpetre and ferruginous earth (_fer ologiste terreux_).” Another _chiao_ which signifies “beautiful, delicate,” is applied to the Hung Chih yellow in Hsiang’s Album. See vol. ii., p. 28. [273] Lit. “yellow distribute spots.” See, however, p. 190. [274] See O. C. A., p. 317. [275] The two letters were published in _Lettres édifiantes et curieuses_. They are reprinted as an appendix to Dr. Bushell’s translation of the _T’ao shuo_. They have been well translated by William Burton, in his _Porcelain_, Chap. ix.; Bushell gave a _précis_ of them in his O. C. A., Chap, xi., and Stanislas Julien quoted them extensively in his _Porcelaine Chinoise_. [276] Père d’Entrecolles (second letter, section xii.) points out that the glaze used for the blue and white was considerably softer than that of the ordinary ware, and was fired in the more temperate parts of the kiln. The softening ingredient (which consisted chiefly of the ashes of a certain wood and lime burnt together) was added to the glaze material (_pai yu_) in a proportion of 1 to 7 for the blue and white as against 1 to 13 for the ordinary ware. [277] On some of the large saucer-shaped dishes of this period the foot rim is unusually broad and channelled with a deep groove. [278] See Bushell, _T’ao shuo_, op. cit., p. 192. It is tolerably clear that d’Entrecolles in this passage is giving a verbatim rendering of a Chinese description. The “flowers” is, no doubt, _hua_, and might be rendered “decoration” in the general sense, and the “water and the mountains” is, no doubt, _shan shui_, the current phrase for “landscape.” [279] For the shape of the _ju-i_ head, see vol. i., p. 227. [280] “Flaming silver candle lighting up rosy beauty,” a Ch’êng Hua design (see p. 25) but often found in K’ang Hsi porcelain, which usually has, by the way, the Ch’êng Hua mark to keep up the associations. [281] For further notes on design, see chap. xvii. [282] There is a small collection of these porcelains salved from the sea and presented to the British Museum by H. Adams in 1853; but there is no evidence to show which, if any, were on board the _Haarlem_. [283] This design was copied on early Worcester blue and white porcelain. [284] In spite of Bushell’s translation of a Ming passage which would lead one to think otherwise; see p. 40. [285] See vol. i., p. 226.