[294] A somewhat similar but clumsier decoration was the “scratched blue” of the Staffordshire salt glaze made about 1750. [295] On exceptional examples the red seems to have turned almost black, and in some cases it seems to have penetrated the glaze and turned brown. [296] A similar combination of coloured glazes was effectively used on the moulded porcelains of the Japanese Hirado factory. [297] See pp. 48 and 100. [298] Loc. cit., second letter, section xiv. [299] Apparently _huang lü huan_, yellow and green (?) circles. But without the Chinese characters it is impossible to say which _huan_ is intended. The description seems to apply to the “tiger skin” ware, where yellow, green and aubergine glazes have been applied in large patches. Bushell (_O. C. A._, p. 331) makes this expression refer to the specimens with engraved designs in colour contrasting with the surrounding ground, such as Fig. 1 of Plate 79; but this does not seem to suit the word _huan_. [300] Loc. cit., section xiv. [301] See footnote on p. 89. [302] The same technique is employed on some of the Japanese Kaga wares. [303] Apparently derived from manganese. [304] See p. 80. [305] Another favourite form is the ovoid beaker (see Plate 101), which is sometimes called the _yen yen_ vase, apparently from _yen_, beautiful. But I only have this name on hearsay, and it is perhaps merely a trader’s term. [306] See p. 110. [307] A lotus-shaped set in the Salting collection numbers thirteen sections. [308] The underglaze blue almost invariably suffered in the subsequent firings which were necessary for the enamels, and, as we shall see, a different kind of glaze was used on the pure enamelled ware and on the blue and white. [309] Apart from the cases in which the enamel colours were added to faulty specimens of blue and white to conceal defects. [310] See p. 85. [311] Op. cit., section vi. “Il n’y a, dit on, que vingt ans ou environ qu’on a trouvé le secret de peindre avec le _tsoui_ ou en violet et de dorer la porcelaine.” As far as the gilding is concerned, this statement is many centuries wrong. The _tsoui_ is no doubt the _ts’ui_, which is very vaguely described in section xii. (under the name _tsiu_) of the same letter. Here it is stated to have been compounded of a kind of stone, but the description of its treatment clearly shows that the material was really a coloured glass, which is, in fact, the basis of the violet blue enamel. [312] Bushell, op. cit., p. 193. [313] Loc. cit., p. 195. [314] See d’Entrecolles, second letter, section xii. [315] Burnt lime and wood ashes. See p. 92. [316] Catalogue of the 1910 exhibition, No. 84.