[307] A lotus-shaped set in the Salting collection numbers thirteen sections.
[308] The underglaze blue almost invariably suffered in the subsequent firings which were necessary for the enamels, and, as we shall see, a different kind of glaze was used on the pure enamelled ware and on the blue and white.
[309] Apart from the cases in which the enamel colours were added to faulty specimens of blue and white to conceal defects.
[311] Op. cit., section vi. “Il n’y a, dit on, que vingt ans ou environ qu’on a trouvé le secret de peindre avec le tsoui ou en violet et de dorer la porcelaine.” As far as the gilding is concerned, this statement is many centuries wrong. The tsoui is no doubt the ts’ui, which is very vaguely described in section xii. (under the name tsiu) of the same letter. Here it is stated to have been compounded of a kind of stone, but the description of its treatment clearly shows that the material was really a coloured glass, which is, in fact, the basis of the violet blue enamel.
[312] Bushell, op. cit., p. 193.
[313] Loc. cit., p. 195.
[314] See d’Entrecolles, second letter, section xii.
[315] Burnt lime and wood ashes. See p. [92].
[316] Catalogue of the 1910 exhibition, No. 84.