The best pieces, whether ancient or modern, are distinguished by the purity of the white and the clearness of the blue. To this class belong the Kouan-ki already referred to as having been made soon after the middle of the fourteenth century at King-teh-chin. These productions frequently bear certain honorific marks, from which their destination can be inferred. The leading symbols are eight in number; and when, as is very often the case, they have a ribbon attached, the pieces are designed for sacred use. Thus the pearl (Fig. 75) marks pieces destined for poets or literati, and is the symbol of talent. It varies slightly in form, being in some cases very small, with a conical top, and in others resembling a flattened sphere. The “sonorous stone” (Fig. 76) is for judges or magistrates, and was hung above their door or at the temple gates, to be struck by those seeking an audience. Pieces with this mark were, therefore, exclusively for the use of judges. The Kouei, or tablet of honor (Fig. 77), is the symbol of office. It was given by the emperor to his noble functionaries, who were required to hold it when discharging the duties of their office, and during an audience. The sacred axe (Fig. 78) is the mark of warriors. The cockscomb (Fig. 79) is the symbol of longevity. The “sacred things” or “treasures of writing” (Fig. 80) are the emblems of the learned, and consist of paper, pencil or brush, ink and pumice-stone. The outang (Fig. 81) is a leaf, the significance of which is not understood. It is frequently found on the bottom of pieces. The meaning of the univalve shell (Fig. 82) is also unknown. These marks and many others are found variously disposed upon blue-and-white porcelain. In the illustration (Fig. 83) the pearl, the sonorous stone, and the Kouei are seen in combination with others, and the inference is that the piece was intended for a man of letters, of noble rank, who also held the office of magistrate. The lace or lambrequin decoration round the border is exceedingly rich and fine, and shows at once whence the artists of Rouen borrowed their favorite design. In other pieces the honorific marks are introduced in the design, or appear upon the neck of vases, or are so disposed as to constitute the chief ornaments. The latter arrangement is exemplified in a small vase, also in Mr. Runkle’s collection, where the symbols are suspended one above another. [Illustration: Fig. 83.--Blue-and-white Plaque, with Honorific Marks. (J. C. Runkle Coll.)]