The establishment of an imperial factory at King-teh-chin, as above stated, marked the beginning of the Ming, during which (1368-1649) the art rose to its highest level. After the blue Kouan-ki came vases and vessels of various colors and styles of decoration. Between 1403 and 1424, egg-shell porcelain, so called from its remarkable thinness, was first issued from King-teh-chin, and between 1465 and 1487 reached its greatest excellence and fineness. It was made as thin as paper, and was so favorably regarded by the emperors that they gave rewards to those making the finest pieces. Its gauzy transparent tenuity is effected by grinding it down after glazing. Vases, as well as cups, etc., were made of egg-shell, which at a later date was painted in colors. The fifteenth century saw the greatest triumphs of Chinese artists. From 1426 to 1435, the Siouen-te period, very brilliant blue, red, white, and veined crackle was made. Representations of crickets were a fashionable style of ornamentation. Afterward, between 1465 and 1487, although the colors deteriorated, the beauty of the ornamentation increased toward its artistic extreme. With the sixteenth century, we have seen that foreign material for ornamentation began to be introduced; and although many original artists continued to appear, others restricted themselves almost exclusively to the imitation of ancient wares. Tcheou, who lived between 1567 and 1619, took particular delight in puzzling collectors by skilful counterfeits of the most famous, rare, and valuable old wares. According to a story told by Julien, he imitated the ancient Ting white, made from three to six hundred years before his time, so closely, that he duped the most acute collectors. More than a century later, between 1735 and 1795, Thang-kong, already referred to, displayed great imitative skill. It is, however, evident, and a matter of regret, that, from the beginning of the eighteenth century, the ceramic art of China declined. While the materials employed are still equal to the most ancient, the ornamentation after that date became, as a rule, manifestly inferior. To what extent a more intimate intercourse with foreigners and the more extended demands of trade resulting therefrom may have contributed to such a result, we need not now inquire. The greater rapidity of execution necessitated by increasing orders from abroad, and the influence of European models, had no doubt their effect. All the best pieces were retained for native use, and only the inferior qualities were exported. The estimation in which the Chinese hold the rarer pieces is further illustrated by the fact that specimens which have found their way to Europe have been sent back to China to be sold, because there they would realize higher prices. Many of the better kinds have never been seen in Europe; and when in addition to this it is remembered that, while skilled in production, the Chinese were equally