[104] That is to say, no attempt was ever made to imitate the material—the hard paste.
[105] An important collection of armorial china was bequeathed to the Museum in 1887 by the Rev. Charles Walker.
[106] This plate belongs to a group in which the arms, above all the mantlings, are in the style of the seventeenth century. On these the gules is always rendered by an opaque iron-red, although the new rouge d’or is freely used in the rest of the decoration. I learn from my friend Colonel Croft Lyons that the arms on this plate are those of Leake Okeover, who was born in 1701. The initials, repeated four times on the margin, L. M. O., stand for Leake and his wife Mary. The plate, therefore, cannot well have been painted before, say, 1725.
[107] This class of Kuang yao must not be confused with the old heavy pieces of Yuan ware mentioned on [p. 77.]
[108] I quote, with a few contractions, from the edition of 1774.
[109] I have examined the Korean pottery in the British Museum, at Sèvres, and that in some of the German museums, but I have not seen the specimens in the Ethnographical Museum at Hamburg, which are said to be very remarkable.
[110] For an account of the exploration of Sawankalok, see Man, the volume for 1901. By the kind permission of Mr. Read I have been able to closely examine the specimens which are now deposited in the British Museum.
[111] We may mention that the Japanese appear also to give the name of Kochi to other wares, especially to the deep blue and turquoise porcelain with decoration in ribbed cloisons which we have attributed to early Ming times.
[112] We may compare with this the impulse given, some four hundred years later, in Europe, to the spread of the use of porcelain at the time when tea was first introduced in the West.
[113] [See page 66]. This Sung ware is known to the Japanese as ‘Temmoku,’ and is highly esteemed by them.