"Most of the painting of Chinese porcelain was done directly on the glaze instead of underneath it, although some of the brush work was done on the clay itself before the glaze was put over it. In either case the ware required several firings, and before even such a simple article as a cup was completed it frequently passed through as many as seventy pairs of hands. Add to this the dangers risked in packing and importing, and the tumult of the many wars that racked China, and is it anything short of a marvel that so many perfect pieces of ancient make have come down to us?" "I think it is wonderful that all of them were not broken," gasped Theo. "It is not until 1171 that there is any mention of porcelain being seen outside of China. Then the Mohammedan Saladin sent as a present to another ruler forty pieces of Chinese porcelain. In 1487 the Sultan of Turkey gave to Lorenzo de Medici, a great art lover, a porcelain vase. After that porcelain began, as I have already told you, to find its way into Europe--first through the Portuguese traders, and later through the Dutch. What we know of Chinese porcelain applies largely to that of Japan, because for many years Japan was merely an imitator of China so far as porcelain-making was concerned. By and by, however, the Japanese Government encouraged the industry by giving money toward its manufacture, and as a result about the year 1200 the porcelains of the Japanese rivaled those of China. The Chrysanthemo-Paeonienne was worked out to a degree of perfection hitherto unknown; and the Famille-rose was also made, but not as perfectly as in China. The Famille-vert, on the contrary, was not attempted to any extent in Japan, probably because the Japanese lacked the necessary clays to make it." Mr. Croyden paused as if reflecting, then added: "As I explained to you, the Japanese had their symbolism of color and design as well as the Chinese; and not only did they make similar sorts of porcelain, but they subsequently invented styles of decoration of their own. They did much medallion-painting, a form of design unknown in China. They also gave to the world their wonderful Japanese lacquer, a varnish of gums that could be applied not only to wood but in some cases to porcelain. They also were the race to invent Cloisonne ware, a very difficult type of thing when made as they made it. To the surface of the porcelain they fastened a tiny metal outline of the design and afterward filled in the spaces between it with colored enamels. You can easily see what careful workmanship such a process required." "We have a Cloisonne vase at home," said Theo soberly, "but I never knew it was made that way."