in a dull indigo blue (derived of course from cobalt, as in other cases), and the outlines are often accentuated by black lines. Many fine specimens of this picturesque ware, from the collection of Mrs. Halsey, were shown in the exhibition of blue and white ware at the Burlington Fine Arts Club in 1895. It was claimed for one large vase that it came from the palace of the Moguls at Agra, and that it had been presented to Jehangir by the Chinese emperor Wan-li (1572-1619). It is often stated that this class of ware was made at some factory in the south of China, probably in the neighbourhood of Canton, the port from which doubtless most of it was exported. As yet, however, no evidence, as far as I am aware, for such a factory has been brought forward, and no definite locality indicated. The statement made by the Abbé Raynal, about a factory at Shao-king Fu, rests probably upon a misconception. There are several specimens of blue and white in England, the metal mountings of which date from the early seventeenth or even from the sixteenth century. Of these the most famous are the four pieces from Burleigh House (now belonging to Mr. Pierpont Morgan), which are believed to have been in the possession of the Cecil family from the time of Queen Elizabeth. One of these bears the date-mark of Wan-li, the contemporary of that queen. This ware is not particularly fine, the surfaces are irregular, and all the pieces are apparently moulded (PL. XXVIII.). This subject, however, of the early presence of Chinese porcelain in other lands we shall return to in a later chapter. So far, then, with such imperfect lights as are at our command, we have attempted to follow up the history of porcelain, and so far, say up to the middle of the sixteenth century, China is practically the only country with which we are concerned. Some fair imitations of celadon, the _martabani_ of Oriental commerce, had probably by this time been made in Siam and perhaps elsewhere, and the Japanese were already in a sporadic way experimenting with imported and native clays. But up to the sixteenth century the Chinese had practically the monopoly of the art, and as we have seen they had at that time the command of three processes of decoration--that is by monochrome glazes, by painting with glazes of a few simple colours on the biscuit, and finally by means of cobalt blues and copper reds painted on the surface of the raw paste.