[334] P. 170. [335] Second letter, section xvii. [336] The word “mazarine” has become naturalised in the English language. Goldsmith spoke of “gowns of mazarine blue edged with fur”; and “Ingoldsby” says the sky was “bright mazarine.” See R. L. Hobson, _Worcester Porcelain_, p. 101. [337] See p. 99. [338] See p. 102. [339] These glazes generally have the appearance of being in two coats, and in some cases there actually seem to be two layers of crackle. [340] See p. 125. [341] i.e. the strong heavy types. Chinese literature speaks of thinner and more refined celadons of the Sung period, but few of these have come down to our day. [342] Père d’Entrecolles fully describes these spurious celadons. See vol. i., p. 83. [343] Second letter, section vii. [344] The _T’ao lu_ (see Julien, p. 213) gives this recipe for the kind of celadon known as _Tung ch’ing_, and a similar prescription with a small percentage of blue added for the variety known as _Lung-ch’üan_. [345] See Bushell, O. C. A., p. 316. [346] See p. 147. [347] There are some fine examples of orange yellow monochrome in the Peters Collection in New York. The colour was also used with success in the Ch’ien Lung period, the mark of which reign occurs on a good example in the Peters Collection. [348] Bushell, _O. C. A._, Plates xxv. and lxxxiii. [349] See Monkhouse, op. cit., fig. 22. The crackle on the mustard yellow glaze is usually small, but there is a fine specimen in the Peters Collection with large even crackle. Sometimes this yellow has a greenish tinge, and in a few instances it is combined with crackled green glaze. [350] Second letter, section vi. [351] See Père d’Entrecolles, second letter, section xiii.: “L’argent sur le vernis _tse kin (tzŭ chin_) a beaucoup d’éclat.” [352] See p. 145. [353] The blue of the cobalt is sometimes clearly visible in the fracture of the glaze; and in other cases the black has a decided tinge of brown. [354] d’Entrecolles, loc. cit., section viii.: “Le noir éclatant ou le noir de miroir appellé _ou kim_” (_wu chin_). [355] d’Entrecolles declares that it was the result of many experiments, apparently in his own time. See p. 194. [356] Second letter, section xi. [357] See M. Seymour de Ricci in the introduction to the _Catalogue of a Collection of Mounted Porcelain belonging to E. M. Hodgkins, Paris_, 1911, where much interesting information has been collected on the subject of French mounts and their designers. He quotes also from the _Livre-journal de Lazare Duvaux marchand-bijoutier ordinaire du Roy_ (1748–1758), which includes a list of objects mounted for Madame de Pompadour and others, giving the nature of the wares and the cost of the work. [358] Persian, Indian, and occasionally even Chinese metal mounts are found on porcelain; and Mr. S. E. Kennedy has a fine enamelled vase of the K’ang Hsi period with spirited dragon handles of old Chinese bronze.