As for the blue on white designs, they are legion. There are the old Ming favourites such as the Court scenes, historical and mythological subjects, pictorial designs, such as ladies looking at the garden flowers by candlelight.[280] There are landscapes after Sung and Ming paintings, the usual dragon and phœnix patterns, animal, bird, and fish designs, lions and mythical creatures, the familiar group of a bird (either a phœnix or a golden pheasant) on a rock beside which are peony, magnolia, and other flowering plants. Panel decoration, too, is frequent, the panels sometimes petal-shaped and emphasised by lightly moulded outlines, or again mirror-shaped, circular, fan-shaped, leaf-shaped, oval, square, etc., and surrounded by diapers and “white in blue” designs. The reserves are suitably filled with figure subjects from romance, history, or family life, mythical subjects such as the adventures of Taoist sages, the story of Wang Chi watching the game of chess, Tung-fang So and his peaches, or, if numerical sequences are needed, with the Four Accomplishments (painting, calligraphy, music and chess), the flowers of the Four Seasons, the Eight Taoist Immortals, the Eight Immortals of the Wine Cup, etc. Another favourite panel design is a group of vases, furniture, and symbolical objects from the comprehensive series known as the Hundred Antiques.[281] Sometimes the whole surface of a vase is divided into rows of petal-shaped compartments filled with floral designs, figure subjects, birds and flowers or landscapes. Plate 91, Fig. 3, from a set of five, is one of the large vases in the Dresden collection which, tradition says, were obtained by Augustus the Strong from the King of Prussia in exchange for a regiment of dragoons. It is decorated with panels illustrating the stories of the Twenty-four Paragons of Filial Piety. Some of the purely floral patterns strike perhaps a more distinctive note. The “aster pattern,” for instance, is a design of stiff, radiating, aster-like flowers usually in a dark tone of blue and displayed on saucer dishes or deep covered bowls. Some of the specimens of this class appear to be a little earlier than K’ang Hsi. The so-called “tiger-lily” pattern illustrated by Fig. 2 of Plate 89 is usually associated with deep cylindrical covered bowls of fine material and painted in the choicest blue. A beaker (Plate 91, Fig. 2) shows a characteristic treatment of the magnolia, parts of the blossoms being lightly sculptured in relief and the white petals set off by a foil of blue clouding. It evidently belongs to a set of five (three covered jars and two beakers) made as a _garniture de cheminée_ for the European market. The squat-bodied bottle (Plate 92, Fig. 1) illustrates a familiar treatment of the lotus design, with a large blossom filling the front of the body.