in the Chinese language, the name of a tutelary deity of women. The Chinese make great numbers of the figures of this deity in white porcelain, and send them to all parts of the world, as well as keep them in their own houses. The figure represents a woman with a child in her arms. The women who have no children pay a sort of adoration to these images, and suppose the deity they represent to have power to make them fruitful. The statue always represents a handsome woman very modestly attired.

KOUÉ (Peter), an excellent painter in the 16th century, was born at Alost, and was the disciple of Bernard Van Orley, who lived with Raphael. He went to Rome, and, by studying the beautiful pieces which he found there, formed an excellent taste, and became a very correct designer. On his return to his own country, he undertook the office of directing the execution of some tapestry-work after the designs of Raphael. He was afterwards persuaded by some merchants of Brussels to undertake a voyage to Constantinople; but when he came there, finding that the Turks were not allowed by their religion to draw any figure, and that there was nothing for him to do but Kouli Khan, to draw designs for tapestry; he spent his time in designing the particular prospects in the neighbourhood of Constantinople, and the manner of the Turks living; of which he has left many wooden cuts, that alone suffice to give an idea of his merit. After his return from Constantinople he settled at Antwerp, where he drew several pictures for the emperor Charles V. He was also a good architect; and, in the latter part of his life, wrote a treatise of sculpture, geometry, and perspective; and translated Vitruvius and Serly into the Flemish tongue. He died in 1550.