Two interesting kinds of decoration mentioned in the Wan Li list[182] are frequently found in combination with blue and white; these are relief (_ting chuang_ or _tui hua_) and pierced work (_ling lung_). Though both have been seen in various forms on the earlier wares, they occur at this period in a fashion which challenges special attention. I allude particularly to the small bowls with or without covers, decorated on the sides with unglazed (or “biscuit”) figures in detached relief, or with delicately perforated fretwork, or with a combination of both. The catalogue[183] of the Pierpont Morgan Collection illustrates two covered bowls of the first type with the Eight Immortals in four pairs symmetrically arranged on the sides, and a “biscuit” lion on the cover doing duty for a handle. A similar bowl, formerly in the Nightingale Collection, had the same relief decoration and painted designs in the typical grey blue of the Wan Li period; and Fig. 3 of Plate 78 represents an excellent example from the Grandidier collection. The Chinese were in the habit of daubing these biscuit reliefs (just as they did the unglazed details of statuettes) with a red pigment which served as a medium for oil gilding, but as neither of these coatings was fired they have worn away or been cleaned off in the majority of cases. In the Rijks Museum, Amsterdam, is a picture[184] by Van Streeck (1632–1678), which shows one of these covered bowls with the biscuit reliefs coloured red, and Mr. Perzynski[185] alludes to another in a still-life by Willem Kalf (1630–1693) in the Kaiser Frederick Museum, Berlin, with the figures both coloured[186] and gilt. An excellent example of the second kind of decoration is illustrated by Fig. 2 of Plate 78, one of a set of four bowls in the Hippisley Collection, with phœnix medallions and other decoration in a fine grey blue, the spaces filled with perforated designs of the utmost delicacy, veritable “devil’s work,” to borrow a Chinese term for workmanship which shows almost superhuman skill. The small pierced medallions contain the characters _fu_, _shou_, _k’ang_, _ning_[187] (happiness, longevity, peace, and tranquillity), and under the base are the six characters of the Wan Li mark. A line cut in the glaze (before firing) at the lip and on the base-rim seems to have been designed to give a firm hold to a metal mount, a use to which it has been actually put in one case; and in another the glazing of the mark under the base has been omitted with the result that it has come from the kiln black instead of blue. The third kind which combines the reliefs and the pierced ornament is illustrated by Fig. 1 of Plate 78. The reliefs of these medallions are small and very delicately modelled, and the subjects are various, including human and animal figures, birds and floral compositions; the borders are often traced in liquid clay, which is left in unglazed relief. An example in the British Museum