CHINA
of softness and richness greatly prized by Chinese virtuosi.
In the "Illustrated Catalogue" of H'siang, translated by Dr. Bushell, three specimens of Ju-yao are depicted and described. They are céladons, having a glaze of "bluish-green" tint. The shapes and decoration are copied from ancient bronzes, designs incised and in relief—scroll pattern, spirals, and so forth—being employed to relieve the uniformity of the surface. To produce the peculiar delicate-green of this ware, the potters are said to have powdered red calcedony and added it to the glazing material. Experience had evidently taught them that this highly siliceous mineral turns white under the action of heat. It is seen from H'siang's pictures that the potters of the Ju-yao exercised admirable expertness in modelling, moulding, and graving. Chinese keramists have always been remarkable for such work. The great test of skill at the Juchou factory was the quality of the céladon glaze. Its delicate greenish blue colour, lustre, and softness combined with solidity belong to a very high range of achievement. The best specimens are said to have been without crackle, but H'siang's catalogue does not support that dictum.
In the early days of its manufacture certain pieces of Ju-yao were stoved in an inverted position, and in order to hide their unglazed rims slender rings of copper or silver were fitted to them. This device, originally dictated by the presence of a defect, subsequently came to be regarded as a distinctive mark, and continued to be employed long after its real purpose had ceased to exist. Allusion is made to the practice in the Tao-lu, but the translator, not unnatur-
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