[106] This plate belongs to a group in which the arms, above all the mantlings, are in the style of the seventeenth century. On these the _gules_ is always rendered by an opaque iron-red, although the new _rouge d’or_ is freely used in the rest of the decoration. I learn from my friend Colonel Croft Lyons that the arms on this plate are those of Leake Okeover, who was born in 1701. The initials, repeated four times on the margin, L. M. O., stand for Leake and his wife Mary. The plate, therefore, cannot well have been painted before, say, 1725. [107] This class of Kuang yao must not be confused with the old heavy pieces of Yuan ware mentioned on p. 77. [108] I quote, with a few contractions, from the edition of 1774. [109] I have examined the Korean pottery in the British Museum, at Sèvres, and that in some of the German museums, but I have not seen the specimens in the Ethnographical Museum at Hamburg, which are said to be very remarkable. [110] For an account of the exploration of Sawankalok, see _Man_, the volume for 1901. By the kind permission of Mr. Read I have been able to closely examine the specimens which are now deposited in the British Museum. [111] We may mention that the Japanese appear also to give the name of Kochi to other wares, especially to the deep blue and turquoise porcelain with decoration in ribbed cloisons which we have attributed to early Ming times. [112] We may compare with this the impulse given, some four hundred years later, in Europe, to the spread of the use of porcelain at the time when tea was first introduced in the West. [113] See page 66. This Sung ware is known to the Japanese as ‘_Temmoku_,’ and is highly esteemed by them. [114] Many, however, of these so-called Jesuit plates were probably painted at King-te-chen at a later date. Christianity was finally and ruthlessly crushed in Japan after the rebellion of 1637: in China it was tolerated up to the close of the reign of Kang-he (1721). I must refer back to a quotation from the Père D’Entrecolles given on p. 133. See also a curious note in Marryat, where a statuette of Quanyin, with the boy patron of learning, is described as ‘a Virgin and Child.’--_Pottery and Porcelain_, p. 293. [115] In the Dresden collection are several cases full of this early Japanese blue and white. [116] The Chinese, however, were given much greater liberty than the Dutch.