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term which almost became a synonym for "Ming enamelled porcelains." The example set by these wares undoubtedly exercised strong influence on the style of the Japanese Imari potters, just then beginning to practise the art of decoration with enamels. In both wares is found the same massing of full-bodied, brilliant enamels with strong, heavy blue under the glaze. The Japanese, however, very soon departed from the stiff, conventional fashions of the Chinese decorator, and developed a much more artistic style. But the advantage in colours remained always with the experts of the Middle Kingdom. The purity and lustre of their enamels and the depth of their blue sous-couverte were so unrivalled as to be characteristic.

The Tao-lu records the names of two celebrated potters who flourished during the Lung-ching and Wan-li eras. They have already been referred to in connection with porcelains different from the class now under consideration. But they must be mentioned here also. One, by name Tsui, lived in the middle of the sixteenth century. He excelled in reproducing the choice wares of Hsuan-tê and Chêng-hwa eras. During his lifetime his productions were held in the highest esteem. They were called Tsui-Kung-yao (porcelains of the Sieur Tsui). All over the empire men purchased them with the keenest empressement. Among his pieces the cups were sensibly larger than those of the periods Hsuan-tê and Chêng-hwa, but in delicacy and beauty they were entirely similar." The second expert, Hu, flourished towards the close of the same century. Chiefly remarkable for imitations of Sung specimens, he seems to have also produced small pieces enamelled after