It would be possible to construct a formidable list of the colours which appear in the Chün glazes, though many of the accidental effects would be very difficult to describe. On the edge and salient parts where the glaze is thin the colour is usually a transparent olive green which passes with the thickening of the glaze into a frothy grey shot with fine purple streaks. The grey sometimes remains thick and opaque, covering large areas, and it is liable to become frosted over with a dull film of crab-shell green. It is in this frosting and in the opaque curded grey that the =V=-shaped and serpentine partings known as "earthworm marks" most frequently occur; and sometimes a steel blue colour emerges in these partings and in small spots in the grey. For under the grey there seems to be always blue and red struggling upwards towards the surface. Hence the blue and lavender tinge which is so constant, the _t´ien lan_ of the Chinese. But it is the red which almost always triumphs, emerging in fine streaks of purple, crimson or coral, like the colour lines in shot silk, or in strong flecks and dappling, completely overpowering the grey, which only remains on sufferance in a few fleecy clouds. The fine lines of colour are usually associated with a smooth silken surface to which a faint iridescence gives additional lustre; whereas the strongly dappled and mottled glaze is full of bubbles and pinholes (sometimes called "ant tracks" by the Chinese) which give the surface the seeded appearance of a strawberry. The red dappling is usually opaque and tending towards crimson or rouge red. It will be seen that the red varies in quantity from a mere tinge or flush to the intensity almost of a monochrome, and in tone from a pale or deep lavender to aubergine, plum purple, rose crimson, and rouge red. Making allowance for the capricious nature of Chinese colour words, these tints will be found to correspond with several of those indicated in the Yung Chêng list quoted on p. 119. On rare examples the grey and red colours are in abeyance, and the dominant tint is the transparent olive green, which is usually confined to the edges. This and the crab-shell green mentioned above supply the green shades which the Chinese writers include among the Chün colours.