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but regular and straight sided, like smalls posts set in the ground. I should compare them rather to millet stubble than to seed. This proves conclusively that the theory of some persons, concerning the term "millet" as having to do with the fuel used in the kilns, has no basis [[strikethrough]] for [[/strikethrough]] ^[[of]] fact. The "seeds" are so minute and close together that they can not be detected by touch alone. Inside the bowl were three bare spots where the stilts had rested when a smaller object had been fired within it.

The general facts which I gleaned from intercourse with Mr. Chun and examination of his collection seem to be well enough recognized by Chinese collectors and the more serious of those in the West, though they are often misinterpreted and not many single collections illustrate more than a few of the wares. The French and English books on the subject do not explain them adequately.

Among those of Mr. Chun's statements which I regard as important is the fact that the Chinese term for "Kingfisher feather" must never be translated as referring to color. It is [[underline]]form [[/underline]] noticeable especially in the wares called [[underline]]Yu[[/underline]] and [[underline]]Chun [[/underline]] occurring generally where the glaze is deepest. The pattern can best be illustrated by the track left by a stick drawn lightly over the surface of tar or cold molasses, which results in a "feather", the butt end of which is in the direction of the motion.

All good Sung wares show a glaze that is perfectly controlled when it comes to an edge on the bare clay of foot or bottom. This is not to be confused with the "control" of
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