de' Medici was presented with a Longquan dish by Qaitbay, the Mamluk Sultan of Egypt. The Katzenelnbogen bowl was bought by an aristocratic German pilgrim in the Holy Land in 1433/34, who on his return had it given a cover and mounts in gilded silver (now Kassel). The Longquan Warham Bowl, traditionally given to New College, Oxford by William Warham, Archbishop of Canterbury by 1532 (now loaned to the Ashmolean Museum), is perhaps a little later, from around 1500, and was given elaborate mounts in gold once in England. History In the Northern Song period the Dayao (大窯) kiln site near Longquan city alone produced wares at twenty-three separate kilns; with Jincun nearby, these appear to have been the largest kiln complexes, and produced the best wares. The era of greatest ceramic production was not until the Southern Song (1127–1279), then continuing in the Yuan (1271–1368) and Ming (1368–1644) periods. A key event in the rise of Longquan celadon was the flight of the remaining Northern Song court to the south, after they lost control of the north in the disastrous Jin-Song wars of the 1120s. A new Southern Song court was based in Hangzhou, close to Longquan. The Northern Celadon kilns declined as Longquan greatly expanded production. Longquan wares were not from one of the Five Great Kilns later grouped by Chinese connoisseurs, and are rarely mentioned in early writing on the subject, although in the Qing dynasty careful imitations were made. A story repeated in many sources from the Yuan onwards, with uncertain significance, tells of two brothers called Zhang, both Longquan potters, perhaps in the Southern Song, though this is unclear. The elder brother developed a very special type of ware; rightly or wrongly the later sources say this was distinguished by crackled glaze, and Ge ware (meaning "elder brother ware") is supposed to be this type. The younger brother also developed a fine style of pottery, which is often taken to be the best quality early Longquan ware. The Southern Song period saw the finest quality, and a great range of colours, as well as a great expansion of production. A count in 1988 by a Chinese archaeologist of the starts of new kilns gave 39 from the Northern Song, 61 from the Southern Song, and over 70 from the Yuan. The percentage figures for those still producing in the 20th century were 23%, <10% and