this a kind of hesitation, a balancing between two influences--the naturalistic and the traditional--which is characteristic of the period. We may call attention, by the way, to the important place that is given in this report to the process of moulding in the fashioning of a vase, especially as _supplementary_ to the throwing on the wheel, and above all, to the care required in the turning and polishing on the jigger or lathe to ensure accuracy of outline in the finished piece. The last picture described by Tang-ying illustrates the worshipping of the local god and the offering of sacrifice. And we are told the story of how, when the great dragon-bowls failed time after time, and when, in consequence, the workmen were harassed by the eunuchs sent down by the Ming emperor, Tung the potter leaped into the furnace; and how, after this sacrifice, when the kilns were opened, the bowls were at last found perfect in shape and brilliant in colour. So Tung was worshipped as the potter’s god; and, indeed, Tang-ying tells us, as a voucher for the truth of his story, that in his time one of these very dragon fish-bowls, ‘compounded of the blood and bones of the deity,’ still stood in the courtyard of the temple, a witness to the sacrifice (Bushell, chapter xv). Tang-ying resigned his post in 1746; his influence was therefore only felt during the first years of Kien-lung’s long reign. His is the last name that can be personally connected with any Chinese ware, unless it be that of the emperor his master. Kien-lung was a poet, and a very productive one--his complete works were published in an edition of 360 volumes, containing nearly 34,000 separate compositions. These are generally occasional pieces suggested by the aspects of nature. Such verses are not unfrequently found on the egg-shell porcelain of his time, signed, too, with the vermilion pencil. There is quite a long poem of his on a dish of thin ware now in the Musée Guimet in Paris. The emperor interested himself in a new kind of opaque glass made in Pekin by a skilful artist, one Hu, and he sent specimens of this ware to King-te-chen to be imitated in the nobler material, as he deemed it. This was effected by means of a very vitreous paste, and the little snuff-bottles moulded in high relief in this material are much prized both by Chinese and American collectors.