.
[406] From the Hippisley collection, Catalogue, p. 408.
[407] Catalogue of Hippisley Collection, p. 347.
[408] Chinese Art, vol. ii., fig. 74.
[409] See p. 224, Nos. 15–17.
[410] A recipe given in the T’ao lu (bk. iii., fol. 12 verso) for the lu chün glaze speaks of “crystals of nitre, rock crystal, and (?) cobaltiferous manganese (liao) mixed with ordinary glaze.” But apart from the uncertain rendering of liao (which Bushell takes as ch’ing liao, i.e. the material used for blue painting), it is difficult to see how this composition, including the ordinary porcelain glaze, can have been fired in the muffle kiln.
[411] In the jujube red the iron oxide is mixed with the plumbo-alcaline flux of the enameller, whereas in the mo hung it is simply made to adhere to the porcelain by means of glue, and depends for the silicates, which give it a vitreous appearance, on the glaze beneath it.
[412] O. C. A., p. 360.
[413] See p. 224, No. 18.