Marco Polo visited China in the latter half of the thirteenth century, and he told of the great factories for the production of porcelain there; and how certain kinds of earth were collected, and, after being exposed to air and rains for thirty or forty years, were then fit to be made into cups and bowls. Great quantities were sold in the city. "For a Venetian groat you may purchase eight porcelain cups." Beginning of course with useful articles simply, this manufacture progressed until pots and vases and dishes were made for purely decorative purposes. [Illustration: FIG. 98.--_Porcelain Bottle, from Egyptian Tomb._] As porcelain was introduced into Europe by the Portuguese about the year 1518, we are obliged to pierce into the dimness of the past with the aid of the Chinese themselves. M. Julien,[9] a Frenchman, has compiled from the Chinese writings mostly all we know, some parts of which may come into this chapter. Jacquemart, Marryat, Chaffers, Demmin, and others, have drawn from him. As early as the Tchoin dynasty (about 583) fine qualities were produced, and the court of the emperors demanded it. Artists began to appear, and rare and rarer qualities were made. We find that different styles were sought for and were held in highest esteem; that "the Tsin held the blue china in high estimation;" the Soni or Sui (581 to 618) gave the preference to green. The Thang dynasty (618 to 907) required that it should be white; and in 621 Ho made porcelain for the emperor of a white ground, "brilliant as jade;" while the Emperor Tchi-tsong (954 to 959) gave his family name to a beautiful blue, the most highly esteemed of all the ancient porcelains of China.[10] How fine this was we cannot know, as it is not likely that any piece of it exists with us, even if among the Chinese. The production grew, until in 1369 in the city of King-te-chin, according to the statement of Father d'Entrecolles, it was estimated at a million pieces a year. A vast and varied industry in making china was carried forward here, down even to the present times, when the Taiping rebels (who we are told were _Christians_) completely destroyed it. From the accounts, mostly of the French missionaries, it seems that while the three thousand furnaces at King-te-chin baked the porcelain which was modeled there, it was taken to Nanking and Canton to be decorated; and, as far as we know, the painting of Nanking was superior to that of Canton. King-te-chin is swept away, and Nanking is almost destroyed; so that we can expect no more fine art-work in porcelain from China. It is likely, however, that much decoration was done at the great city of King-te-chin; but what we know now as "the celestial" or Nanking blue was probably done at Nanking; of this more will be said in the progress of this chapter.