latter is dry, ’tis hardly possible to determine the limits of either; a thing very easy to be done when the body is hardened by biscuiting. Our chinaware makers in general deny it to be possible to glaze on a raw body or soft biscuit. And so it is with their glaze; which, abounding in lead and other fluxing materials, melts soon and runs thin, and, melting before the body closes, penetrates it, and is lost in the body, whereas our stone is almost as hard to melt as the body is to close; and, not melting thin, neither runs nor penetrates the body. I insist on the truth of this observation, and ’tis necessary to be insisted on, as scarcely any of our potters, misled by too slavish dependence on their own too partial experience, will allow it. I have said above that the Jesuits observe that the Chinese paint and glaze their ware on the raw body. I know this can be done, for I have done it; and so may anyone else who pleases to try it. I have now by me the bottom of a Chinese punch-bowl, which was plainly glazed, when it was raw, or a soft biscuit; for the ware wants a great deal of being burnt, it being of the colour of coarse whited-brown paper. But the same body, when exposed to a proper degree of fire, turns to a chinaware of a very good colour--a demonstration that it had not, as our ware in England hath, the great fire before the glaze was laid on. I don’t point out the advantages of painting and glazing on a soft biscuit, as they are very obvious to anyone, ever so little used to pottery. “In regard to burning, I have to remark, that by all the experiments we have made, the north of England kilns, where the fire is applied in mouths on the outside of the kilns, and the fuel is coal, will not do for our body, at least when it is composed of the materials of Tregonnin Hill.