1. For a well-documented and illustrated example of a similar case, please see the description of a mounted Kangxi porcelain vessel, also in the collection of the J. Paul Getty Museum, from which the spout, handle, and finial were removed in the eighteenth century to accommodate French gilt bronze mounts. F.J.B. Watson and G. Wilson, Mounted Oriental Porcelain in the J. Paul Getty Museum (Santa Monica, Calif.: J. Paul Getty Museum, 1982), pp. 74–76, no. 16. 2. See “Dipping into the Glaze and Blowing on the Glaze,” in Robert Tichane, Ching-te-chen: Views of a Porcelain City (Painted Post, N.Y.: New York State Institute for Glaze Research, 1983), p. 156, no. 13, ill. 3. See Eva Ströber, “La Maladie de Porcelaine”: East Asian Porcelain from the Collection of Augustus the Strong, exh. cat., Albertinum Dresden (Berlin: Edition Leipzig, 2001), no. 44. 4. X-ray fluorescence is a nondestructive analytical technique in which the elements present on an object’s surface are detected using X rays. The analysis was carried out in the J. Paul Getty Museum Research Laboratory using a Kevex 0750A instrument, set at 50 kV, 3.3 mA, with a Ba/Sr secondary target and collimators of 3 mm on the X-ray tube and 4 mm on the detector of 200 seconds acquisition time. As there was no standard with which to compare, the readings of the gilded and ungilded ceramic were not normalized. The spectra were acquired by Satoko Tanimoto under the direction of Dr. David Scott, Senior Scientist, Museum Research Laboratory, Getty Conservation Institute. For a description of the analysis of silver embellishment on Chinese export wares, see Shirley Maloney Mueller, “Surface Silver Decoration on Chinese Export Porcelain: An Analytic Approach,” Oriental Art 48, no. 4 (2002): 43–46. 5. In d’Entrecolles’s own words, “on cuit la porcelaine; apres quoy on y applique l’or, & on la recuit de nouveau dans un forneau particulier”; Stephen W. Bushell, Description of Chinese Pottery and Porcelain (Oxford, Eng.: Clarendon Press, 1910), p. 195. 6. Ibid. The French text reads: “Quand on veut appliquer l’or, on le broye, & on le dissoud au fond d’une porcelaine, jusqu’à ce qu’on voye au dessous de l’eau un petit ciel d’or. On le laisse secher, & lorsqu’on doit l’employer, on le dissoud par partie dans une quantité suYsante d’eau gommée: avec trente parties d’or on incorpore trois parties de ceruse, & on applique sur la porcelaine de mesme que les couleurs”; Tichane, Ching-te-chen, pp. 83–84. 7. Tichane, Ching-te-chen, p. 81. 8. The bowl is in the Arthur M. Sackler Museum, Harvard University Art Museums (acc. no. 1919.207). See Robert D. Mowry, Hare’s Fur, Tortoiseshell, and Partridge Feathers: Chinese Brown- and Black-Glazed Ceramics, 400–1400, exh. cat. (Cambridge, Mass.: Harvard University Art Museums, 1996), pp. 108–10, no. 15. 9. After examination, conservators washed these areas with purified water and conservation grade detergent, and applied an impermanent coating in acetone for research purposes without damaging the “ghosts.” Earl S. Tai, “Analysis of a Sung Ceramic Bowl” (unpublished research paper for Fine Arts 202, Harvard University, fall 1990), unpaginated.