predilection for Taoist symbolism. Also it is interesting to
observe in this connection the influence of tea on Chinese
ceramics. The Celestial porcelain, as is well known, had its
origin in an attempt to reproduce the exquisite shade of jade,
resulting, in the Tang dynasty, in the blue glaze of the south,
and the white glaze of the north. Luwuh considered the blue
as the ideal colour for the tea-cup, as it lent additional greenness
to the beverage, whereas the white made it look pinkish and
distasteful. It was because he used cake-tea. Later on, when
the tea masters of Sung took to the powdered tea, they preferred
heavy bowls of blue-black and dark brown. The Mings, with
their steeped tea, rejoiced in light ware of white porcelain.

In the fifth chapter Luwuh describes the method of making tea.
He eliminates all ingredients except salt. He dwells also on the
much-discussed question of the choice of water and the degree
of boiling it. According to him, the mountain spring is the best,
the river water and the spring water come next in the order of
excellence. There are three stages of boiling: the first boil is
when the little bubbles like the eye of fishes swim on the surface;
the second boil is when the bubbles are like crystal beads rolling
in a fountain; the third boil is when the billows surge wildly in
the kettle. The Cake-tea is roasted before the fire until it becomes
soft like a baby's arm and is shredded into powder between pieces
of fine paper. Salt is put in the first boil, the tea in the second.
At the third boil, a dipperful of cold water is poured into the
kettle to settle the tea and revive the "youth of the water." Then
the beverage was poured into cups and drunk. O nectar! The
filmy leaflet hung like scaly clouds in a serene sky or floated like
waterlilies on emerald streams. It was of such a beverage that